THE  INFLUENCE  OF  THE  EPIC  ON 
LATER  SPANISH  LITERATURE 
THE  CID-CYCLE  AND  THE  DRAMA 


By 

ELLA  MAI  WILSON 

A.  B.  Vanderbilt  University,  1919 


THESIS 

SUBMITTED  IN  PARTIAL  FULFILLMENT  OF  THE  REQUIREMENTS  FOR  THE 
DEGREE  OF  MASTER  OF  ARTS  IN  ROMANCE  LANGUAGES  IN 
THE  GRADUATE  SCHOOL  OF  THE  UNIVERSITY 
OF  ILLINOIS,  1922 


URBANA 


ILLINOIS 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/influenceofepicoOOwils 


CONTENTS 


Page 

I.  INTRODUCTION  .....  1 

II  . DRAMAS  . ll-?9 

A.  COMEDIA  DE  LA  MUERTE  DEL  REY  DON  SANCHO,Y  RETO 
DE  CAMORA  POR  DON  DIEGO  DE  ORDONEZ,  POR  JUAN 

DE  LA  CUEVA 11 

B.  LAS  HAZANAS  DEL  CID,  Y SU  MUERTE,  CON  LA  TOMADA 

DE  VALENCIA,  ANONYMOUS 13 

C.  LAS  ALMENAS  DE  TORO,  POR  LOPE  DE  VEGA 17 

D.  LAS  MOCEDADES  DEL  CID,  PRIMERA  PARTE,  POR  GUILLEN 

DE  CASTRO  21 

E.  LAS  HAZANAS  DEL  CID  0 LAS  MOCEDADES  DEL  CID, 

SEGUNDA  PARTE,  POR  GUILLEN  DE  CASTRO  26 

F.  EL  COBARDE  Ma's  VALIENTE,  POR  TIRSO  DE  MOLINA  . . . 29 

G.  EL  HERMANO  DE  SU  HERMANA,  POR  BERNARDO  DE  QUIROS  33 

H.  EL  AMOR  HACE  VALIENTES , POR  JUAN  DE  MATOS  FRAGOSO  37 

I.  EL  HONRADOR  DE  SU  PADRE,  POR  JUAN  BAUTISTA  DIAMANTE  42 

J.  EL  CID  CAMPEADOR  Y EL  NOBLE  SIEMPRE  ES  VALIENTE, 

POR  FERNANDO  DE  ZARATE  Y CASTRONOVO 47 

K.  EL  HONRADOR  DE  SUS  HIJAS,  POR  FRANCISCO  DE  POLO  53 


. 


Page 


L.  NO  ESTA  EN  MATAR  EL  VENCER,  POR  JUAN  DE 

MATOS  FRAGOSO 58 

M.  LAS  MOCEDADES  DEL  CID,  POR  GERONIMO  DE  CANCER  Y 

VELASCO  61 

N.  EL  CERCO  DE  ZAMORA,  POR  JUAN  BAUTISTA  DIAMANTE  64 

O.  LA  JURA  EM  SANTA  GADEA,  POR  JUAN  EUGENIO 

HARTZENBUSCH 69 

P.  LAS  HIJAS  DEL  CID,  POR  EDUARDO  MARQUINA 73 

III.  CONCLUSION 80 

IV.  APPENDICES 82-85 

1.  ROMANCES  USED  BY  THE  AUTHORS  AS  SOURCES  FOR 

THEIR  DRAMAS 82 

2.  ADDITIONAL  PLAYS  BASED  ON  THE  CID  84 

NOTES  66 

BIBLIOGRAPHY  92 


. 


1 


I.  INTRODUCTION 


No  one  man  in  all  Spanish  history  has  exerted  such  an 
influence  on  Spanish  literature  as  the  national  hero  and  ideal, 
el  mio  Cid.  He  has  been  the  inspiration  of  poems,  romances, 
dramas,  and  novels  by  the  best  Spanish  writers  from  the  time  of  his 
death  up  to  the  present  day.  Very  naturally,  throughout  all  these 
ages  and  all  these  writings,  he  has  become  a very  much  glorified 
Cid  and  we,  as  well  as  his  own  people,  forget  that  he  was  a typical 
warrior  and  leader  of  his  time,  with  as  many  vices  as  virtues. 
Indeed,  he  has  become  so  glorified  that  some  have  even  doubted 
that  there  ever  really  existed  such  a person. 

Tradition  has  added  so  much  toward  his  character  and 
deeds  that  some  have  tried  to  prove  that  he  is  totally  a creation 
of  tradition  and  literature.  It  is  impossible  to  quote  directly 
any  of  these  demurrers  since  their  works  are  unavailable  here,  but 
Fi tzmaurice-Kelly  in  his  Chapters  on  Spanish  Literature  seems  to 
have  given  the  sum  and  substance  of  these  denials  of  the  Cid‘s 
existence,  in  as  much  as  his  statements  agree  with  those  of 
Menendez  Pidalx  and  Adalbert  Hamel,2  both  of  whom  go  into  the  matter 
in  some  detail,  quoting  and  referring  exactly  to  the  works  in 
question.  Fitzmaurice-Kelly  saysS  "So  marked  are  the  differences 
between  the  Cid  of  history  and  the  Cid  of  legend  that,  early  in  the 
nineteenth  century  his  very  existence  was  called  in  question  by  the 
sceptical  Jesuit  Masaeu,  an  historian  who  delighted  in  paradox. 
Maedeu's  doubts  were  reiterated  by  Samuel  Dunham  in  his  History  of 


Spain  and.  Portugal,  and  by  Dunham’s  translator,  Antonio  Maria  de 
Alcala  Galiano,  a writer  of  repute  in  his  own  day.  * * * These 

negations,  more  or  less  sophistical,  are  the  follies  of  the  learned 
and  they  have  their  match  in  the  assertions  of  another  school  that 
sought  to  reconcile  divergent  views  by  assuming  the  existence  of 
two  Cids,  each  with  a wife  called  Jimena  and  each  with  a war  horse 
called  Babieca.  This  generous  process  of  duplicating  everybody 
and  everything  has  not  found  favour.  Cervantes  expresses  his  view 
through  the  canon  in  Don  Quixote  — 'That  there  was  a Cid,  as  well 
as  a Bernardo  del  Carpic,  is  beyond  doubt;  but  that  they  did  the 
deeds  which  they  are  said  to  have  done,  I take  to  be  very  doubtful. 
Few  of  us  would  care  to  be  so  affirmative  as  the  canon  with  respect 
to  Bernardo  del  Carpio,  but  he  is  perfectly  right  as  regards  the 
Cid." 

There  is  no  doubt  that  the  Cid  actually  existed,  although 
there  is  doubt  that  he  did  and  said  most  of  the  things  ascribed  to 
the  Cid  of  literature  and  to  the  Cid  of  Spanish  civilization. 

The  earliest  document  concerning  the  Cid  of  history  is 
his  marriage  settlement  which  is  dated  1074  and  is  to-day  preserved 

4 t t 

at  Burgos.  Then  there  is  the  Genealogia  de  Rodrigo  Diaz  written 

in  the  time  of  St.  Ferdinand  and  containing  an  account  of  the  main 

5 

events  of  the  Cid's  life.  Ibn-Bassam' s Dhakira  appeared  ten  years 
after  the  Cid's  death  and  the  anonymous  Gesta  Ruderici  Campidocti 
appeared  sometime  between  1140  and  1170.°  The  authors  of  these  two 
works  write  from  opposite  points  of  view  and  a statement  made  by 
both  may  usually  be  taken  as  a fact. 


Ormsby,  in  his  translation  of  the  Poema.  gives  a full 
diagram  of  the  ancestors  and  descendants  of  the  Cid.  He  is  a 
descendant  of  NuKc  Rasura,  Judge  of  Castile,  A.D.  898,  and  of 
Teresa  Nunez  and  Lain  Calvo,  his  father  being  Diego  Lainez  and  his 
mother  Teresa  Rodriguez,  granddaughter  of  Alfonso  V of  Leon.  A 
descendant  of  Rodrigo1 s daughter  Elvira  was  the  mother  of  the  first 
of  the  line  of  Navarre  and  still  another  descendant  was  queen  of 

7 

Richard  I of  England. 

From  the  above  imentioned  historical  documents,  we  know 

/ 

that  the  Cid  married  Jimena  Diaz,  first  cousin  of  Alfonso  VI  and 

daughter  of  the  Count  of  Oviedo.  From  the  second  document  we  get 

5 

a summary  of  the  chief  events  of  his  life:  "his  share  in  the  wars 

of  Sancho  and  Alfonso  of  Castile,  his  banishment  by  the  latter,  his 
victory  over  Verenger  of  Barcelona,  his  conquest  of  Valencia,  and 
the  marriages  of  his  daughters  to  the  Count  of  Barcelona  and  the 
Infante  Ramiro  of  Navarre." 

The  third  and  fourth  documents  agree  in  essentials  with 
the  Genealogia  as  to  the  early  life  of  the  Cid,  and  give  an  account 
of  the  Cid  from  his  banishment  in  1081  to  his  death  at  Valencia  in 
1099. e 

A general  outline  of  the  Cid's  life  taken  from  the  intro- 
duction of  Ormsby's  translation  and  Fitzmaurice-Kelly' s chapter  on 
the  Cid  is  as  follows: 

✓ 

Rodrigo  or  Ruy  Diaz  was  born  at  Bivar  near  Burgos  about 
1040.  He  was  later  called  the  "Campeador"  and  the  Cid:  the  former 
title  due  to  his  prowess  in  single  combat,  the  latter  supposed  to 
be  derived  from  the  Arabic  sidi  (=  my  Lord) . At  the  age  of  twenty- 


‘ 


I 


. 


' 


8 


4 


five,  he  was  made  standard  bearer  to  Sancho  II  of  Castile,  who  had 
seized  Leon  from  his  brother  Alfonso  and  Galicia  from  his  brother 
Garcfa.  After  the  death  of  Sancho,  during  the  first  year  of  the 
reign  of  Alfonso,  the  Cid  was  married  to  Jimena,  Alfonso's  cousin, 
on  July  19,  1074.  What  happens  for  the  next  few  years  is  not  known, 
but  we  know  that  in  1081  he  was  exiled  and  went  into  the  service  of 
Al-muktadir,  a petty  Moorish  king.  At  the  latter's  death,  he  took 
the  side  of  his  son  Al-mutamen  against  the  latter's  brother 
Mondhir  who  was  assisted  by  the  King  of  Aragon  and  the  Count  of 
Barcelona.  Owing  to  the  Cid's  bravery  Al-mutamen  won  a complete 
victory  in  spite  of  the  fact  that  he  was  outnumbered.  The  king  of 
Aragon  was  again  defeated  on  the  banks  of  the  Ebro.  The  Cid  having 
become  reconciled  to  Alfonso  VI,  quarrelled  with  him  again  and  was 
again  banished.  The  City  of  Toledo  was  surrendered  to  Alfonso  on 
condition  that  he  would  make  Al-kadir  ruler  of  Valencia  as  compensa- 
tion for  his  loss  of  Toledo.  This  was  accomplished  by  Castilians 
under  Alvar  FaTiez,  the  Cid's  nephew,  against  the  will  of  the 
Valencians.  At  this  time  there  was  an  invasion  of  Spain  by  the 
Almoravides,  and  Alfonso  to  defend  his  kingdom,  had  to  deprive 
Al-Kadir  of  his  support.  The  latter  applied  for  aid  to  Al-mutamen 's 
son,  Al-mustain,  who  with  the  Cid  marched  against  Valencia,  with 
the  secret  intention  of  taking  it  for  himself.  The  Cid  and  his  men 
were  to  have  the  plunder.  Al-mustain  left  the  Cid  to  carry  out  the 
work.  The  latter  desired  nothing  better,  ana  ravaged  the  outlying 
districts  of  this,  the  huerta  of  Spain,  advancing  cautiously  and 
fortifying  his  positions.  He  played  false  to  all  three  parties 
concerned,  pretending  to  Alfonso  that  he  was  working  in  the  inter- 


■' 


' 

■ 


5 


ests  of  Castile,  and  to  Al-mustain  that  he  was  working  for  him, 
while  encouraging  Al-kadir  to  put  down  the  Valencians  and  the 
Valencians  to  rebel  against  Al-kadir. 

He  starved  the  city  into  surrendering  in  June  1094  on 
generous  terms,  violated  these  terms,  burned  Ibn-Jehaf  and  his 
chief  supporters  alive,  and  gave  the  people  their  choice  between 
banishment  and  slavery.  In  all  but  name  he  was  now  a king,  and  he 
strengthened  his  hold  on  the  city  against  various  attacks  of  the 
Almoravides.  His  troops  were  finally  defeated  at  Alcira,  and  the 
Cid’s  death,  hastened  by  grief  at  this  defeat,  occurred  in  1099. 

The  first  known  poem  concerning  the  Cid  was  written  in 

Q 

Latin  about  1120,  some  twenty  years  after  his  death." 

The  most  important  Spanish  epic  is  the  Poema  del  Cid. 
dealing  with  our  hero.  This  poem  occupies  a place  midway  between 
the  historical  and  the  romantic  accounts  of  the  Cid.  ,!The  founda- 
tion which  the  poet  has  laid  down  is  historical,  but  the  super- 
structure he  has  raised  upon  it  is  either  a creation  of  his  own, 
or,  more  probably,  a fabric  constructed  out  of  legends  which  had 
already  grown  up  round  the  memory  of  the  Cid."^  This  poem  was 
written^1  about  1140.  Menendez-Pidal  tells  us  that  it  is  "un  poirne 
* * * qui  nous  represente  un  Cid  immuablement  fidele  a son 

injuste  souverain” . 

Just  a few  details  will  suffice  to  show  the  correctness 
of  this  statement.  In  the  opening  lines  of  the  Poema  as  we  now 
have  it,  the  people  of  Burgos  lament  the  misfortune  that  has  be- 
fallen the  Cid  through  the  edict  of  exile,  and  they  all  exclaim 


' 


■ 


6 


"Dios  qud  buen  vassalio  si  oviesse  buen  seffore." 

After  bis  first  victory  be  sends  rich  booty  back  to  bis 
unjust  and  ungrateful  king,  and  so  be  does  after  each  succeeding 
victory  of  any  importance.  When  tbe  Infantes  of  Carridh  wish  to 
marry  tbe  Cid's  daughters,  tbe  Cid  places  them  both  in  tbe  bands 
of  tbe  king  to  do  with  as  be  pleases.  Later  on  when  tbe  Infantes 
maltreat  tbe  daughters,  tbe  Cid  insists  that,  however  great  tbe 
insult  to  himself  and  to  bis  daughters,  it  is  still  greater  to  tbe 
king  who  brought  about  tbe  marriage , and  as  a loyal  subject  of  bis 
sovereign  be  insists  that  tbe  king  handle  tbe  matter.  Still  later 
when  tbe  princes  of  Navarre  and  Aragon  wish  to  marry  tbe  Cid's 
daughters,  tbe  Cid  again  turns  tbe  whole  matter  over  to  tbe  king. 

"It  is  not  easy  to  say  whether  tbe  abject  loyalty  to  the 
sovereign  which  tbe  poem  attributes  to  tbe  Cid  is  to  be  regarded 
as  characteristic  of  tbe  age,"  says  Ormsby,  "or  merely  as  tbe 
expression  of  tbe  political  bias  of  tbe  poet;  but  it  is,  at  any 
rate,  a very  remarkable  point  of  difference  between  tbe  earlier  and 
tbe  later  portraits  of  tbe  herc."1^ 

In  addition  to  tbe  above-mentioned  accounts  of  tbe  his- 
torical and  semi-historical  Cid,  there  are  tbe  accounts  of  tbe 
legendary  Cid:  tbe  various  Crdnicas  and  tbe  Romance ro  del  Cid  com- 

posed of  ballads.  Tbe  Crdnicas  all  grow  out  of  each  other:  tbe 
Primera  Crdnica  General  of  Spain  was  based  on  tbe  Crdnica  de  1344- . 
From  tbe  Primera  Crdnica  came  three  other  Crdnicas:  that  of  tbe 

Veinte  Reyes,  tbe  Tercera  General , and  tbe  Crdnica  de  Castilla 
(sometimes  known  as  tbe  Crdnica  Rlmaaa)  . Of  this  last  Crdnica, 


- 


7 


the  Cronica  Particular  del  Cid  is  merely  an  abstract.  Nevertheless, 
the  derived  Cronicas  sometimes  follow  the  primitive  sources  more 
closely  than  does  the  Primera  Cronica.  This  may  be  due  to  the 
fact  that  they  were  founded  on  a more  perfect  text  of  the  Primera 
Cronica  than  the  one  preserved  to-day,  or  it  may  be  that  they  used 
other  sources  in  addition  to  the  Primera  Cronica. 

The  Primera  Cronica  General  is  taken  from  the  Poema, 
not  as  we  know  it  to-day,  but  from  a later  recasting  of  it  which 
has  been  lost.  This  later  text  differed  very  slightly  from  the  old 
one,  in  the  first  part  concerning  the  Cantar  of  the  Cid‘s  banish- 
ment, but  differed  greatly  in  the  Cantares  of  the  Bcdas  and  of  the 
Corpes  .14: 

The  Cronica  de  1344  differs  more  from  the  text  of  the 
Poema  than  does  the  Primera ♦ And  so  do  the  Cronica  de  Castilla 
and  the  Particular  del  Cid.15 


The  romance  during  the  fifteenth  century  was,  as  the 

Marque's  de  Santillana  said,  the  song  "de  que  las  gentes  de  baxa 

e servil  ccndicion  se  aiegran" . xo  Menendez  Pidal  says  that  this 

statement  is  not  to  be  taken  too  literally.  The  higher  classes 

also  were  fond  of  the  romances.  King  Enrio^ue  IV,  speaking  of  a 

chronicler,  said:  "He  sang  very  well  all  music,  that  of  the 

17 

Church  as  well  as  that  of  romances  and  canciones." 

In  the  sixteenth  century,  Philip  II  at  the  age  of  eight, 
was  so  familiar  with  the  romances  that,  in  reply  to  one  of  his 
courtiers,  he  parodied  some  verses  from  the  Jura  en  Santa  Gadea. 


Among  men  of  letters  the  romance  was  highly  esteemed. 


Various  writers  and  historians  commend  the  romances  as  the  most 
effective  historic  poetry  and  speak  of  their  lovely  sound. 

Musically,  they  were  very  popular.  Various  musicians  of 
the  time  include  them  in  their  works.  Novelists,  such  as  Cervantes 
and  Y^nez  y Ribera,  tell  us  how  customary  it  was  for  the  people  in 
the  cities  to  sing  romances,  old  and  new  in  their  hours  of  recrea- 
tion. The  girls  sang  them  at  their  embroidery,  dishwashers  sang 

them  to  the  clatter  of  plates;  even  the  children  sang  them  on  their 

* 

way  to  buy  oil  or  wine. 

In  conversation,  bits  of  a romance  were  quoted  for 
repartee  or  to  add  a little  spice. 

A particular  collection  of  these  romances  that  were  so 
popular  during  the  sixteenth  century,  and  whose  subject  matter  is 
the  Cid,  forms  the  Romancero  del  Cid . The  Romance ro  naturally 
represents  a Cid  who  would  appeal  to  the  people,  a Cid  who  defies 
kings,  a generous,  noble  Cid,  a Cid  who  is  democratic  and  the  very 
soul  of  honor. 

Orrnsby  in  his  translation  of  the  Poema  gives  us  an 
excellent  characterization  of  these  ballads. 

MAs  might  be  expected  in  a country  where  the  feeling  of 
the  people  found  vent  in  ballads  so  freely  as  it  did  in  Spain,  a 
hero  whose  adventures  appealed  so  strongly  to  the  popular  imagina- 
tion and  sympathy  became  before  long  a favourite  theme  with  the 
popular  minstrels.  The  ballads  which  had  the  Cid  and  his  deeds  for 
their  subject  formed  so  conspicuous  a feature  in  the  Romanceros 
and  Cancioneros  of  the  sixteenth  century,  that  as  early  as  1613, 
Juan  de  Escobar  found  it  worth  while  to  collect  and  issue  them 


- 

• 

9 

separately  as  the  Romancero  del  Cid,  which  has  been  succeeded  by 
edition  after  edition,  each  adding  something  to  the  collection  of 
its  predecessor,  till  we  come  to  the  admirable  variorum  edition 
of  Carolina  Michaelis  (Leipzig,  1871),  containing  no  less  than  205 
ballads.  The  Cid  ballads,  however,  it  must  be  confessed,  impress 
us  'more  by  their  number  than  their  light',  for  they  do  but  little 
towards  the  illustration  of  the  Cid  either  as  a picturesque  hero 
of  romance  or  a3  a characteristic  figure  of  mediaeval  history. 
Southey  has  been  accused  of  injustice  in  his  estimate  of  this 
series  of  ballads,  but  no  one  who  examines  them  with  any  degree 
of  care  will  deny  that  his  judgment  is  at  least  substantially 
just.  Considered  as  a whole,  and  compared  with  the  pieces  belong- 
ing to  the  best  period  of  Spanish  ballad  poetry,  the  Cid  ballads 
must  be  rated  as  poor? 

The  Romancero  del  Cid,  according  to  the  Michaelis  edition, 
is  divided  into  four  parts.  The  first  part,  composed  of  the  first 
forty-five  romances,  deals  with  the  life  and  deeds  of  the  Cid 
during  the  reign  of  Fernando  I . The  second  part,  composed  of 
romances  46-70,  deals  with  the  Cid  during  the  reign  of  Sancho  II 
(1065-72) . The  third  division,  composed  of  romances  71-96, 
tells  of  the  Cid  from  the  death  of  Don  Sancho  to  the  crowning  of 
Don  Alfonso  VI  (1072)  . The  fourth,  romances  97-205,  is  concerned 
with  the  Cid  during  the  reign  of  Alfonso  VI  (1072-1109)  up  until 
the  Cid's  death  in  1099. 

In  this  chapter  we  have  analyzed  the  contents  of  the 
great  Spanish  epic  dealing  with  the  life  of  the  Cid,  under  the 
glorified  ideal  that  in  later  centuries  became  Spain's  conception 


... 


. 


of  one  of  her  national  heroes.  One  of  the  amazing  qualities  about 
this  epic,  when  compared  with  the  great  epics  of  other  nations,  is 
its  naturalness  and  its  truthfulness.  Its  geography  is  exact.  All 
the  personages  mentioned  in  it  are  historic.  The  battles  took 
place,  and  the  number  of  persons  engaged  on  both  sides  harmonize 
with  the  facts.  When  the  Cid's  men  make  a charge  the  number  killed 
is  not  excessive.  There  i3  practically  nothing  of  the  supernatural 
And  so  one  might  continue  with  details  of  a similar  nature,  all 
proving  the  sobriety,  self-restraint,  and  acquaintance  with  the 
facts  that  were  possessed  by  the  unknown  author. 

We  have  analyzed  also  the  chronicles  derived  from  this 
poem  either  directly  or  through  other  chronicles. 

But  while  these  conceptions  of  the  Cid  were  powerful  in 
molding  public  opinion,  they  3eem  not  to  have  had  any  direct 
influence  on  the  subsequent  literature  that  we  shall  examine,  and 
this  for  the  very  good  reason  that  tnose  literary  monuments  lay 
buried  for  several  centuries. 

They  had,  however,  caused  the  creation  of  another  form  of 
literature  which  we  know  as  the  romances,  and  we  have  analyzed 
their  general  provenience,  following  the  argument  of  Professor 
Menendez  PicLal.  In  this  great  body  of  literature,  there  is  an  im- 
portant group  of  205  romances  that  deal  with  the  Cid,  and  it  is 
the  conception  of  his  character  that  is  herein  set  forth  that  has 
been  used  in  varying  degrees  by  the  majority  of  the  authors  who  in 
later  centuries  have  dealt  with  the  Cid.  It  will  be  our  purpose  in 
the  following  chapters  to  see  how  our  authors  have  used  this  par- 
ticular material. 


. 


11 


II  . DRAMAS 

Of  all  the  forms  of  literature  that  have  been  influenced 
by  the  materials  we  have  been  examining,  none  has  been  more  strong- 
ly influenced  than  the  drama.  We  have  therefore  attempted  to  dis- 
cover every  drama  whose  principal  theme  is  related  in  any  way  to 
these  materials.  We  shall  study  the  content  of  all  those  that  are 
available  in  as  nearly  the  chronological  order  as  is  possible, given 
the  uncertainty  of  the  dates  at  which  some  of  them  were  written. 


A.  CO MEDIA  DE  LA  MVERTE  DEL  REY  DON  SANCH0,Y  RETO  DE  JAMORA 

POR  DON  DIEGO  DE  ORDONEZ  ^POR  JUAN  DE  LA  CUEVA1S 

The  first  Spanish  author  to  dramatize  the  Cid  was  Juan  de 
la  Cueva,  whose  drama  was  played  in  Seville  about  1579  and  was  pub- 
lished between  1584  and  1588. ^ 

ACT  I — King  Sancho,  who  after  the  death  of  his  father 
Fernando,  has  inherited  Castile,  wishes  to  possess  ijamora  also, 
which  has  been  given  to  his  sister  Urraca.  He  sends  the  Cid  to 
^amora  to  ask  Urraca  to  give  up  the  city,  offering  to  give  her 
some  other  possession  instead.  Urraca  refuses.  Vellido  Dolfos, 
one  of  Urraca' s subjects  leaves  (Jamora,  goes  to  the  king  and  offers 
to  give  famora  into  his  hands.  From  the  city  walls  they  warn 
Sancho  to  beware  of  the  traitor  Vellido,  but  the  king  will  not  heed. 
Vellido  kills  him  and,  mounting  the  king's  horse  flees.  The  Cid 


12 

comes  up  and  pursues  the  murderer  but  he  escapes  into  the  city. 

ACT  II  — The  nobles  of  Castile  decide  that  the  treachery 
of  Vellido  must  have  been  due  to  the  (^morans.  Don  Diego  Ordonez 
challenges  the  city  to  a combat  for  its  freedom.  Arias  Gongalo 
responds  to  the  challenge.  Both  sides  are  to  appoint  judges. 

ACT  III  — Arias  wishes  to  enter  the  combat,  but  finally 
listens  to  the  piteous  pleas  of  Urraca,  and  sends  his  three  sens  to 
fight  with  Ordonez  who  kills  them,  one  by  one,  although  the  third 
son  wounds  the  horse  of  Ordonez  and  it  runs  outside  the  bounds  of 
the  combat.  The  §amoran  judge  then  refuses  to  allow  him  to  fight 
with  any  one  else  since  he  has  left  the  place  of  combat. 

ACT  IV  — The  judges  of  Castile  and  famora  meet  to 
decide  the  matter.  After  much  argument  they  decide  that  the  glory 
of  the  victory  is  to  be  awarded  to  Don  Diego  de  Ordonez,  but  since 
he  left  the  lists,  Qamora  is  to  be  free.  They  then  go  to  the  city 
wall  where  the  Cid  has  Arias  Goncalo  and  Don  Diego  take  the  oath 
that  they  will  abide  by  the  decision. 

Cueva  was  the  first  of  Spanish  dramatists  to  treat  nation- 
al subjects  and  to  turn  to  the  well  known  Romancero  for  subject 
matter.  And  we  find  in  this  drama  that  he  has  followed  very  closely 
his  source  and  has  introduced  practically  nothing  of  his  own.  Con- 
sequently his  drama  is  rather  episodic  in  character. 


13 


B.  LAS  HAZANAS  DEL  CID,  Y SU  MUERTE,  CON  LA 
TOMADA  DE  VALENCIA,  ANONYMOUS21 

The  next  treatment  of  the  Cid  in  drama  is  an  anonymous 
22 

play  appearing  in  1603. 

ACT  I — Martin  Pelaez,  one  of  the  Cid's  men  has  fled 
from  battle  and  is  trying  to  excuse  himself  for  being  cowardly.  He 
hopes  that  no  one  has  seen  him.  The  Cid  and  his  followers  come 
from  the  battle  and  are  washing  their  hands  for  mealtime.  Martin 
mingles  with  the  men,  but  the  Cid  has  noticed  his  flight  and 
remarks  on  the  cowardice  of  one  of  his  men.  He  wishes  to  speak  to 
Martin  alone,  but  the  latter  does  not  hear  the  Cid  call  him  and 
goes  with  the  other  men.  Two  soldiers  of  the  Cid  come  in  with  two 
Moorish  women  whom  they  have  captured.  The  Cid  buys  the  women  to 
send  to  J imena  that  they  may  become  Christian.  A page  tells  the 
Cid  that  Martin  is  eating  at  the  table  with  the  knights.  The  Cid 
will  not  tolerate  this.  He  summons  Martin  from  the  table  and 
explains  to  him  how  he  who  has  fled  from  the  battle  cannot  sit  with 
the  others.  Martin  tries  to  make  up  for  his  cowardice.  When  the 
battle  is  renewed,  he  puts  the  Moors  to  flight,  makes  two  of  them 
surrender  their  arras,  and  beg  for  their  lives.  He  wishes  to  kill 
them,  but  leads  them  before  the  Cid,  who  rejoices  over  Martin's 
courage  and  allows  him  to  sit  at  the  table  with  the  other  soldiers. 
The  two  Moors  meet  with  the  tv/o  women  prisoners  whom  they  love  and 
who  rebuke  them  for  their  cowardice  and  say  that  they  are  in  love 
with  Martin  Pelaez  and  Antolinez  who  are  brave  and  took  them 


14 


prisoners . 

Valencia  is  taken.  The  Cid  gives  the  prisoners  their 
liberty  and  keeps  the  women  from  harm.  He  sends  back  the  gold  to 
the  Jews  whom  he  out-witted  on  his  departure  from  Castile.  J imena 
and  her  daughters  are  to  come  to  Valencia.  The  Cid  sends  a messen- 
ger to  King  Alfonso  with  presents  as  a sign  of  his  victory.  He 
also  gives  the  Moorish  women  who  have  been  set  free,  gold  for  their 
marriage;  the  Moorish  men  thank  the  Cid. 

ACT  II  — The  Cid  is  the  ruler  of  Valencia.  He  grants 
audiences  to  the  Moors,  and  settles  disputes  which  are  brought  be- 
fore the  tribunal.  The  arrival  of  Jimena  is  announced.  She  is 
received  with  great  festivity;  the  Moors  show  their  enthusiasm. 

The  festivities  are  interrupted  by  a band  of  Moors  marching  against 
the  city.  The  Cid  puts  his  family  in  a safe  place  in  a tower  where 
they  can  watch  the  enemy  and  goes  to  battle.  Martin  Pelaez  again 
is  very  brave  in  battle  and  captures  a Moor.  No  one  is  hurt  among 
the  Cid’s  men  and  he  thanks  them  for  the  victory. 

Martin  Pelaez  receives  a letter  from  one  of  the  Moorish 
women,  Lizarra,  who  is  in  love  with  him.  He  cannot  read  it,  but 
asks  Ali,  Lizarra' s husband  (who  comes  by  with  a basket  of  fruit 
for  the  Cid)  to  read  it  to  him.  Ali  fears  to  tell  Martin  what  the 
letter  says,  but,  fearing  still  more  Martin's  threat  to  kill  him, 
he  at  last  obeys.  Lizarra  tells  Martin  that  the  other  Moors  are 
away  and  that  she  is  alone.  Ali  is  very  much  chagrined  that  his 
wife  would  do  such  a thing  in  his  absence,  but  Martin  reassures 
him  by  telling  him  that  he  askea  him  to  read  the  letter  in  order 
to  test  him.  He  asks  Ali  not  to  show  the  note  to  Antolinez  and  says 


15 

that  he  esteems  Lizarra's  honor  and.  that  Ali  has  nothing  to  fear. 

He  only  wishes  to  have  the  women  baptized,  and  he  threatens  to  kill 
Ali  if  the  latter  punishes  his  wife. 

ACT  III  — Several  years  have  passed.  The  Cid  is  old 
and  can  no  longer  do  anything  but  recall  his  former  achievements. 

He  relates  the  marriages  of  his  daughters  with  the  Infantes  of 
Carrion  and  their  shameful  treachery,  and  he  rejoices  in  having 
honorable  sons-in-law  now.  A trumpet  is  heard.  The  Cid  thinks 
it  is  the  Moors  attacking  the  city.  It  is  an  envoy  from  Persia 
bringing  gifts  for  the  Cid.  The  Cid  is  pleased  and  treats  the 
envoy  with  courtesy. 

The  Moorish  king  Bucar,  son  of  Funes,  attacks  Valencia 
to  avenge  his  father's  death. 

St.  Peter  appears  to  the  Cid  and  tells  him  he  is  soon  to 
die.  The  Cid  asks  Bishop  Hieronimo  to  prepare  him  for  death.  Then 
he  leaves  directions  with  Martin  Pelaez  and  his  men  concerning  what 
they  are  to  do  with  him  after  his  death.  He  will  still  fight  his 
enemy.  They  are  to  bind  him  with  his  armor  to  his  horse  Babieca 
and  let  the  animal  follow  the  Bishop.  After  the  battle  they  are 
to  take  the  Cid  to  Castile  and  to  San  Pedro  de  Cardena. 

The  Cid  dies  and  his  men  carry  out  his  orders.  The  trend 
of  the  battle  is  reported  to  us  by  some  Moors  from  the  wall.  King 
Bucar  and  his  allies  are  put  to  flight  and  Valencia  is  free. 

The  scene  changes  to  San  Pedro  de  Cardena.  The  Cid  is 


placed  in  state  here,  sitting  on  a bench.  Among  the  spectators  are 
two  Jews,  Samuel  and  Abraham.  While  the  Christians  form  a proces- 
sion, Abraham  draws  aside  the  curtain  which  covers  the  Cid  and, 


16 


addressing  the  dead,  man  in  a bold  manner,  pulls  his  beard,  there- 
upon the  Jew  falls  dead,  and  the  dead  Cid  draws  his  sword  from  its 
sheath.  Every  one  is  astounded  at  the  marvel  and  Samuel  becomes 
converted  and  is  baptized. 

The  writer  has  chosen  a different  set  of  romances  for 
his  subject  matter  and  has  invented  some  love- intrigues  to  serve  as 
a connecting  thread  through  his  story.  The  capture  of  the  Moorish 
women,  Lizarra  and  her  companion,  ana  their  subsequent  marriages 
to  Ali  ana  Zulema  and  the  episode  of  Lizarra' s letter  to  Martin 
Pelaez  were  introduced  by  the  author . In  the  last  scene  of  the 
play,  the  author  has  varied  his  source  by  introducing  two  Jews 
instead  of  one,  and  having  one  of  them  actually  killed  for  his 
desecration  of  the  Cid's  dead  body.  The  Romancero  tells  that  the 
body  remained  in  state  for  seven  years  ana  every  year  a f iesta 
was  held  in  its  honor . According  to  the  Romancero  it  was  on  the 
occasion  of  one  of  these  f iestas  that  the  episode  of  the  Jews 
occurred  and  not  soon  after  the  Cid's  death  as  the  author  of  this 
play  places  it. 

23 

Some  historical  accounts  tell  how  Jimena  maintained 
Valencia  for  two  years  after  her  husband's  death  and  then,  after 
setting  fire  to  the  citv,  retreated  northward  taking  with  her  the 
Cid's  embalmed  body  mounted  for  the  last  time  on  his  horse  Babieca. 
"But  the  reality,"  says  Menendez  Pidal,  "is  more  touching,  since 
it  represents  the  Emperor  Alfonso  as  going  with  his  army  into  a 
hostile  country  to  repatriate  the  ashes  of  the  hero  who  haa  lived 
constantly  in  exile."*54 


17 


Upon  arriving  at  Burgos,  the  remains  were  buried  in  the 
convent  of  San  Pedro  de  Cardena,  where  they  remained  until  1683, 
when  they  were  transferred  to  the  townhall  of  Burgos.  Recently, 
upon  the  seventh  centennial  of  the  founding  of  the  beautiful 
cathedral  of  Burgos,  July  22,  1921,  the  remains  were  transferred 
to  the  Cathedral  itself,  with  great  pomp  and  ceremony,  the  king 

OK 

and  queen  and  many  nobles  being  present. 

C.  LAS  ALMENAS  DE  TORO,  POR  LOPE  DE  VEGA26 

27 

In  1618,  Lope  de  Vega  published  his  Almenas  de  Toro . 

ACT  I — Don  Sancho  has  come  to  the  city  of  Toro  which 
is  ruled  by  his  sister  Elvira.  When  he  wishes  to  gain  possession 
of  it,  he  is  reminded  by  his  followers  of  his  oath  to  his  dying 
father,  ana  they  aavise  him  not  to  attack  the  city.  He  sends  the 
Cid  to  talk  with  Elvira.  On  the  way  to  the  city, the  Cid  meets  Don 
Diego  Ordonez,  who  is  returning  to  Zamora,  whence  he  came  as  a 
messenger  to  Elvira.  The  two  men  being  unacquainted,  threaten 
each  other  and  Don  Diego  says  that  there  is  only  one  person  whom 
he  fears  and  that  is  the  Cia.  They  then  make  themselves  known  to 
each  other  and,  after  a friendly  greeting,  each  goes  his  way.  From 
the  top  of  the  wall,  Elvira  talks  to  the  Cid,  who  tells  her  that 
her  brother  wishes  to  put  her  in  a cloister  and  bids  her  to  open 
the  gate  of  the  city  and  fear  no  treachery.  She  orders  him  to 
tell  her  brother  that  Toro  is  the  cloister  where  she  will  remain 
and  she  cannot  open  the  door  of  the  cloister  to  outsiders.  The 


18 


king  himself  comes  up  to  the  wall  and.  seeing  Elvira,  whom  he  does 
not  recognize,  falls  in  love  with  her  beauty.  He  offers  to  marry 
her  if  she  be  a nobleman's  daughter.  When  told  that  she  is  his 
sister,  he  curses  her  and  orders  his  men  to  fire  upon  her;  but  the 
Cid  prevents  their  doing  so.  Bellido  Dolfos  advises  Sancho  to  send 
a message  to  Elvira  requesting  that  she  bring  four  soldiers  with 
her  and  meet  him  outside  the  wall  for  a conference.  Elvira  refuses 
to  fall  into  the  trap.  The  king  goes  up  to  the  wall  to  talk  with 
her,  but  she  refuses  to  deal  with  him.  He  orders  his  men  to  attack 
the  city.  They  put  ladders  up  to  the  wall,  but,  as  soon  as  they 
climb  up,  Elvira's  men  beat  them  back.  In  the  first  act,  we  meet 
also  Don  Vela,  a retired  nobleman  living  near  Toro  with  his  only 
daughter.  He  is  the  Cid's  uncle.  His  laborers  are  returning  from 
the  fields  when  a wounded  man,  dressed  like  a nobleman,  enters. 

He  says  he  has  been  treacherously  attacked  by  two  knights.  He 
faints  and  is  carried  to  Vela's  house  by  the  servants. 

ACT  II  — Bellido  thinks  of  a new  plan  to  take  the  city 
if  Sancho  will  give  him  Elvira  to  wife  as  a reward.  The  king 
lets  him  have  a thousand  men.  He  goes  up  to  the  city  wall  at  night 
and  pretends  he  is  Don  Diego  just  come  from  Zamora  with  a message 
from  Urraca.  Elvira  has  the  gates  opened  and  Sancho  and  his  men 
enter  and  take  the  city.  Elvira  flees.  She  goes  to  the  house  of 
Don  Vela,  where  she  tells  them  she  is  the  daughter  of  a poor  man 
and  was  stolen  by  a nobleman  and  dressed  in  fine  garments  and  that 
she  has  fled  from  him.  Vela's  daughter,  Sancha,  gives  her  some 
peasant's  clothes  and  she  stays  to  work  for  them.  Sancha  is  in  love 


19 


with  Enrique,  who,  working  for  Vela  as  a laborer,  falls  in  love 
with  Elvira. 

When  Elvira  cannot  be  founa  in  the  city,  Eellido  becomes 
angry  with  Sancho,  accusing  him  of  breaking  his  promise  to  give  him 
Elvira  as  his  wife.  He  deserts  the  king  and  goes  to  Zamora  to  sup- 
port Urraca.  Sancho  has  his  men  search  for  Elvira. 

ACT  III  — Sancho  goes  to  attack  Zamora  ana  take  it  from 
his  other  sister  Urraca.  He  stops  at  the  house  of  Vela.  Elvira 
recognizes  her  brother  and  hides.  The  Cid,  who  is  with  the  king, 
greets  his  uncle  with  affection,  and  the  king  and  his  men  go  on  to 
Zamora. 

Enrique  tells  Elvira  that  he  is  the  son  of  a duke  and 
closely  related  to  the  king  of  France,  and  she  admits  that  she  also 
is  noble.  Vela  falls  in  love  with  Elvira  and  wishes  to  marry  her, 
but  first  he  wishes  to  marry  off  his  daughter.  He  sends  Enrique 
to  Zamora  with  a message  to  Rodrigo  de  Lara,  who  has  asked  for 
Sancha' s hand.  When  Enrique  returns,  he  brings  news  of  King 
Sancho' s murder  by  Bellido,  who, pretending  to  betray  Zamora  into 
the  king's  hands,  treacherously  murdered  him,  although  the  king  had 
been  warned  of  Bellido 's  treachery.  Don  Diego,  after  Bellido  has 
been  taken  into  Zamora,  deserts  Zamora  and  goes  over  to  Sancho 's 
side.  After  Sancho 's  death,  he  challenges  the  city  and  fights  with 
the  sons  of  Arias  Gonzalo . Elvira  is  sad  over  her  brother's  death. 
She  and  Enrique  flee  and  ride  to  Toro.  Don  Vela  and  Sancha  pursue 
them . 

The  following  day,  Alfonso  is  declared  king  of  Toro 
since  Elvira  is  believed  to  be  dead.  She  and  Enrique  make  them- 


20 


selves  known  to  Nuno  Velazquez,  her  most  faithful  vassal.  She 
marries  Enrique,  makes  herself  known  to  her  people,  and.  is  again 
mistress  of  the  city  of  Toro.  Don  Vela  and  Sancha  pledge  her 
their  loyalty. 


This  play,  though  based  on  the  Cid  legend,  is  mainly 
Lope's  own  invention.  He  has  based  his  play  on  the  mere  mention 
in  romance  56,  of  Sancho ' s taking  Toro  from  his  sister  Elvira, 
and  on  romance  104,  which  describes  Alfonso's  falling  in  love  with 
the  beautiful  maiden  who  is  walking  on  the  walls  of  Toro  and  who, 
he  discovers,  is  his  own  sister.  Lope  even  changes  this  romance 
by  making  it  Sancho  and  not  Alfonso  who  falls  in  love  with  his 
sister.  Around  this  rather  unusual  circumstance  Lope  has  built 
up  his  whole  play.  He  invented  all  the  secondary  characters: 

Don  Vela,  his  daughter  Sancha,  Don  Enrique,  and  the  laborers.  He 
also  invented  the  intrigue  of  Bellido  Dolfos  to  capture  the  city, 
Sancho' s promise  to  give  Elvira  to  him  and  the  flight  of  Elvira 
and  the  flight  of  Belliao  to  Zamora. 

The  only  other  Romancero  mater ial, besides  the  two  already 
mentioned,  is  Belliao 's  treacherous  murder  of  Sancho.  Very 
cleverly,  Lope  has  worked  the  thread  of  his  own  invention  in  with 
the  thread  of  the  Romancero.  He  makes  Bellido  commit  this  murder 
in  revenge  for  Sancho' s failure  to  give  him  Elvira  as  his  wife. 

Lope  has  followed  the  Romancero  less  closely  than  either 
of  the  dramatists  who  had  hitherto  written  on  the  Cid.  The  Cid 

himself  plays  a rather  unimportant  role  in  the  play.  The  chief  in- 
terest centers  around  Sancho  ana  Elvira. 


21 


D.  LAS  MOCEDADES  DEL  CID  . PRIMERA  PARTE, 

POR  GUILLEN  DE  CASTRO26 

Probably  the  best  known  of  all  the  dramas  on  the  Cid, 
the  Cid-drama  par  excellence,  is  Guillen  de  Castro’s  Las  Mocedades 
ael  Cid.  published  in  1618. 

ACT  I — King  Fernando  has  just  made  Rodrigo,  son  of 
Diego  Lainez,  a knight.  Jimena,  daughter  of  the  Conde  Lozano  and 
Urraca,  the  infanta,  are  both  in  love  with  Rodrigo. 

The  young  Don  Sancho,  heir  to  the  throne  is  in  need  of 
a preceptor.  The  king  decides,  since  the  rest  of  his  nobles  all 
have  some  position  in  the  kingdom,  that  he  will  make  Don  Diego 
preceptor  to  the  prince.  The  Conae  Lozano  speaks  slightingly  of 
the  old  man,  saying  he  is  too  old,  and  after  seme  heatea  argument 
which  the  king  tries  in  vain  to  silence,  the  Conde  ends  by  giving 
Don  Diego  a blow  in  the  face.  The  poor  old  man  declares  he  is  no 
longer  worthy  of  the  position  since  his  honor  is  gone  with  the 
insulting  blow.  They  both  leave.  The  king  sends  for  them  both 
to  settle  the  matter. 

The  old  man  goes  to  his  house  and  calls  one  by  one,  his 
three  sons  to  try  them.  The  two  younger  wail  like  women  when  he 
grips  their  hands  to  test  them,  but  the  eldest,  Rodrigo,  proves 
himself  a man,  ana  his  father  charges  him  with  the  vengeance  of 
their  family  honor.  Rodrigo  is  ready  to  do  it.  But  then  comes 
the  cruel  struggle  between  his  love  for  Jimena,  when  he  learns 
that  he  must  try  to  kill  her  father,  and  his  duty  to  his  own  father. 


. 


22 

Rodrigo  meets  the  Count  in  front  of  the  palace.  The 
Count  refuses  to  make  any  reparation  for  his  insult.  At  the  sight 
of  Jimena  who  is  standing  at  a window,  Rodrigo  falters,  but  when 
his  old  father  enters,  he  at  once  regains  his  determination.  He 
challenges  the  Count,  who  scoffs  at  him.  They  fight  ana  the  Count 
is  killed.  Rodrigo  is  being  attacked  by  the  servants  of  the  Count 
when  Urraca  intervenes  in  his  favor. 

ACT  II  — Jimena  ana  Don  Diego  both  present  themselves 
at  the  feet  of  the  king.  Jimena  demanding  that  her  father’s 
murderer  be  punished  and  Don  Diego  offering  himself  as  the  true 
cause  of  the  death.  The  king  orders  Diego  to  be  arrested.  Sancho, 
the  young  prince,  intervenes  and  opposes  his  father  in  the  arrest, 
but  when  he  sees  that  resistance  is  useless,  he  accepts  the  sug- 
gestion of  Urraca  and  becomes  Lainez's  jailer. 

Rodrigo  goes  to  Jimena' s house  to  offer  her  his  head. 

He  finds  her  servant  Elvira  there.  While  they  are  talking,  Jimena 
comes  in.  Rodrigo  hides  and  hears  her  confess  that  he  is  her 
adored  enemy.  He  comes  out  and  offers  her  his  sword  with  which  to 
kill  him.  She  sends  him  away  telling  him  that  despite  her  love, 
she  will  avenge  her  father's  death. 

Don  Diego  tells  Rodrigo  to  go  and  fight  against  the 
Moor 8 and  thus  consecrate  his  valor  to  his  king. 

The  infanta,  who  is  at  the  roval  country  house, has  an 
interview  with  Rodrigo  on  his  way  to  battle.  He  is  very  gallant 
and  she  wishes  him  Godspeed. 

The  battle  of  Rodrigo  with  the  Moors  is  related  by  a 
shepherd.  Rodrigo  is  slaying  the  Moors.  He  pursues  them  and  takes 


33 

a king  prisoner . 

Don  Sancho,  the  prince, is  in  deadly  fear  of  death  by  the 
hand  of  a friend  or  relative,  since  such  is  the  fate  foretold  him. 

He  hates  his  brothers  and  Urraca. 

The  king  learns  from  the  captive  Moorish  king  how  brave 
Rodrigo  is  and  how  the  Moors  all  call  him  Mel  raio  Cid."  The  Cid 
comes  in  and  the  infanta  is  more  than  ever  in  love  with  him.  Jimena 
comes  again  to  plead  for  justice,  but  the  king  cannot  arrest  the 
bravest  soldier  he  has.  He  sends  the  Cid  on  another  expedition 
to  silence  Jimena' s objections. 

ACT  III  — Urraca, weeping,  confesses  to  Arias  that  she 
love3  the  Cid,  but  it  is  easily  seen  that  he  and  Jimena  love  each 
other  all  the  more  even  though  she  still  prosecutes  him.  The  king 
sees  Urraca  weeping  and  promises  that  she  shall  have  a part  of  the 
kingdom  after  his  death. 

Jimena  complains  to  the  king  that  the  Cid  has  been 
injuring  her  pigeons.  The  king  is  worn  out  with  her  constant  com- 
plaints. At  this  point  a page  announces  that  the  Cid  has  been 
killed  in  ambush.  Jimena  turns  pale.  Then  the  king  tells  her  that 
he  only  wants  to  test  her.  She  quickly  replies  that  one  can  grow 
pale  from  joy.  She  vows  to  give  her  hand  to  any  nobleman  who  will 
bring  her  Rodrigo's  head,  to  any  commoner  who  brings  it  to  her,  the 
half  of  her  possessions. 

The  Cid  on  the  way  to  Santiago  meets  a leper  with  whom  he 
generously  shares  his  meal.  The  leper  turns  out  to  be  Saint  Lazarus 
and  he  promises  the  Cid  an  immortal  glory. 


24 

Martin  Gonzalez,  ambassador  from  Aragon  proposes  to  end 
the  war  by  single  combat.  Unable  to  find  a champion,  the  king 

refuses  and  tells  Martin  that  all  his  men  will  march  against 

Aragon.  Then  Rodrigo  enters  and  offers  to  go  himself.  Martin 
boasts  that  he  will  have  not  only  the  victory,  but  the  hand  of 

Jimena.  He  sends  Jimena  a letter  assuring  her  of  his  love  and  his 

certain  victory.  Jimena  regrets  what  she  has  done. 

The  king,  feeling  that  his  end  is  near,  calls  a council 
and  decides  to  divide  his  kingdom  among  his  children, since  Sancho 
shows  himself  so  hateful  to  his  brothers  and  sister.  Sancho  vows 
that  he  will  unite  Castile  by  the  sword  if  his  father  so  destroys 
its  unity.  (This  scene  is  to  prepare  for  the  second  part  of  Las 
Mocedades  or  Las  Hazanaa  del  Cid  and  it  delays  the  action  and 
spoils  the  unity  of  this  play.) 

Jimena  comes  in  holiday  dress  to  the  palace,  still  pre- 
tending that  she  will  prosecute  the  Cid. 

A page  announces  that  a knight  is  coming  with  the  Cid's 
head.  Jimena  acknowledges  her  love  for  him  and  begins  to  weep  when 
in  walks  the  Cid  himself.  He  is  bringing  the  Cid’s  head  and  demands 
the  hand  of  Jimena  as  reward.  If  she  wants  to,  she  can  cut  the  head 
from  the  shoulders.  Jimena  accepts  the  situation.  Urraca  tears 
from  her  heart  the  image  of  the  Cid.  The  king  announces  that  the 
lovers  shall  be  wed  that  evening. 

In  the  first  place,  Castro  has  chosen  the  most  dramatic 

incident  of  the  Romancero  as  the  basis  of  his  play.  And  then  to 
the  barely  suggested  incidents,  he  has  aaded  much  of  the  product 


V 

•! 


%,  . ' 


25 

of  his  own  imagination.  The  first  scene,  that  of  the  knighting  of 
Rodrigo,  he  has  used  as  the  opening  scene  instead  of  having  it  come 
after  the  marriage  of  Jimena  and  the  Cid,  as  it  did  in  the 
Romancero . The  scene  between  the  Count  Lozano  and  Diego  Lainez  is 
Castro's  own  creation,  the  event  being  only  indirectly  suggested  by 
the  words  of  Diego  in  the  Romancero  which  begins: 

Cuidando  Diego  Lainez 
Por  las  raenguas  de  su  casa . 

All  the  scenes  between  Rodrigo  and  Jimena  are  are 
extraneous  to  the  material  in  the  Romancero.  Likewise,  the  scene 
between  Rodrigo  and  the  infanta  at  the  king's  country  house  has  no 
counterpart  in  the  Romancero.  Neither  Sancho  nor  Urraca  appears  in 
the  romances  dealing  with  this  portion  of  the  Cid's  life,  so  that 
the  scenes  wherein  they  are  introduced  are  Castro's  own  invention. 

In  the  original,  Jimena  complains  to  the  king  only  once. 
Castro  makes  her  complain  three  times  to  the  king  in  person.  The 
incident  of  the  battle  between  Martin  Gonzalez  and  Rodrigo  is 
greatly  enlarged  ana  the  idea  of  Jimena' s offering  herself  as  the 
prize  to  the  one  who  brings  her  Rodrigo's  head  is  entirely  Castro's 
own. 

Fernando's  distribution  of  his  kingaom  among  his  children 
breaks  the  unity  of  this  play, and  while  presumably  it  was  done  to 
prepare  us  for  his  second  play.  Las  Hazanas  del  Cid,  we  feel  that 
he  has  rather  rudely  interrupted  the  action  of  this,  the  better 
play  of  the  two. 

The  last  scene,  where  Rodrigo  returns  with  Gonzalo's  head 
on  his  lance,  is  also  of  Castro's  invention. 


26 

In  the  Romancero  we  find  Jiraena,  quite  the  opposite  of 
what  Castro  represents,  going  to  the  king  and  of  her  own  accord 
asking  to  marry  Rodrigo.  This  is  in  harmony  with  the  law  which 
permitted  her  to  demand  the  Cid's  head  or  his  hand. 

E.  LAS  HAZANAS  DEL  CID  0 LAS  MOCEDADES  DEL  CID, 

SEGUNDA  PARTE  POR  GUILLEN  DE  CASTRO30 

29  / 

In  this  play,  published  about  1618,  Guillen  de  Castro 
has  given  us  a sequel  to  his  Mocedades  del  Cid,  Pr imera  par te , but 
the  sequel  is  not  so  interesting  as  the  first  play. 

ACT  I — After  the  death  of  King  Fernando,  his  kingdom 
has  been  distributed  among  his  children.  Don  Sancho  was  given 
Castile,  Extremadura  and  Navarra.  As  he  swore  to  do  in  the  Pr imera 
Parte  of  the  Mocedades  del  Cid,  he  is  attacking  Leon,  the  kingdom 
of  his  brother  Alonso.  He  is  taken  prisoner  once  by  Alonso's  men, 
but  the  Cid  and  Diego  de  Ordonez,  one  of  his  nobles,  secure  his 
release.  He  captures  Leon  and  tries  to  kill  Alonso,  but  the  latter 
escapes  to  Toledo  and  finds  refuge  there  with  King  Alimaymon. 

The  Cid  remonstrates  with  King  Sancho  and  refuses  to 
fight  against  the  sons  and  daughters  of  his  late  king,  but  Sancho 
sets  out  against  Zamora,  the  little  kingdom  of  Dona  Urraca,  who 
has  as  her  adviser  and  second  father.  Arias  Gonzalo.  He  offers  her 
his  five  sons  to  guard  her  city.  Word  is  brought  that  Sancho  has 
captured  Leon. 


27 


Meanwhile,  in  Toledo  the  beautiful  Moor  Zaida  come3  to 
visit  Alimavmon.  She  and  King  Alonso  fall  in  love  with  each  other. 

While  Sancho  is  attacking  Zamora,  the  spirit  of  his 
father,  Fernando,  appears  to  him  and  warns  him  to  stop  his  violence. 
Terrified  at  this,  Sancho  orders  his  soldiers  to  cease  their  attack. 

Bellido  de  Olfos,  a citizen  of  Zamora,  realizing  that  he 
is  too  cowardly  to  fight,  wishes,  nevertheless,  to  do  something,  so 
he  tells  Urraca  that  he  will  save  Zamora  and  that  Arias  Gonzalo  is 
a traitor.  Bellido  is  driven  away  by  the  sons  of  Arias  and  goes  to 
Sancho,  to  whom  he  promises  to  hand  over  Zamora.  Sancho  is 
delighted.  The  Cid  again  attempts  to  stop  Sancho.  After  some  hot 
words  have  passed  between  Bellido  and  the  Cid,  Sancho  banishes  the 
Cid.  The  Cid  once  gone,  Sancho  repents  and  sends  word  for  him  to 
come  back. 

ACT  II  — King  Sancho  and  Bellido  go  off  by  themselves 
to  the  great  worry  of  the  nobles,  who  start  out  to  find  the  king. 
Bellido,  when  he  gets  the  king  alone,  stabs  him  with  a lance  and 
flees  to  Zamora.  Sancho  dies  and  his  men  think  that  Urraca  was  the 
cause  of  Bellido' s murdering  the  king.  Urraca  has  Bellido  thrown 
into  prison  though  Arias  Gonzalo  wishes  to  kill  him.  Don  Diego  de 
Ordonez  accuses  the  Zamorans  of  killing  Sancho  and  challenges  any 
one  in  the  city  to  fight  him.  Doha  Urraca  finally  prevails  on 
Arias  Gonzalo  not  to  go  out  and  fight  and  thus  leave  her  friendless 
and  without  an  advisor.  Much  against  his  inclination.  Arias  promises 
to  stay  and  let  his  sons  go. 

In  Toledo,  Zaida  saves  King  Alonso's  life  when  the  Moors 
wish  to  kill  him,  because  they  think  he  may  have  overheard  an  impor- 


26 


tant  conversation. 

ACT  III  — At  Zamora,  Arias  Gonzalo  sends  his  sons  out, 
one  by  one,  to  fight  Diego  de  Ordonez.  Three  of  them  are  killed. 

The  third  one,  however,  unhorses  Don  Diego,  and  thus  frees  Zamora. 
Bellido  is  punished  by  being  torn  to  pieces  by  four  wild  horses. 

Zaida,  having  decided  to  become  a Christian,  is  brought 
by  Don  Alonso  to  Zamora,  where  she  is  baptized.  The  Cid  angers 
Alonso  by  compelling  him  to  swear,  before  he  becomes  king  of 
Sancho's  possessions,  that  he  had  nothing  to  do  with  the  latter's 
death.  Alonso  banishes  the  Cid,  but  later  recalls  him.  Zaida  is 
crowned  queen. 

The  play  is  episodic  in  character  and  follows  the 
Rcmancero  much  more  closely  than  did  the  first  part.  However, 
there  are  several  incidents  introduced  by  the  author.  The  ghost  of 
Fernando  does  not  appear  in  the  Romancero . Castro  has  inserted  the 
character  of  the  Moor  Zaida  and  her  love  for  and  consequent  marriage 
with  Alonso.  When  Alonso  is  about  to  be  killed  by  the  Moors  Castro 
has  Alonso  rescued  by  Zaida  and  not  by  the  Moorish  king  as  the 
Romancero  has  it. 

The  first  banishment  of  the  Cid  by  Sancho  is  due,  in 
Castro' 8 production,  to  the  Cid's  interference  with  Bellido  when 
the  latter  falsely  promises  to  help  Sancho  take  Zamora,  whereas  in 
the  Romancero,  this  banishment  is  due  to  Sancho's  anger  at  the  Cid's 
message  bringing  Urraca' s refusal  to  give  up  Zamora.  In  the 
Rcmancero,  Sancho  is  warned  onlir  by  the  people  on  the  wall  of 
Zamora,  but  Castro  also  makes  the  Cid,  too,  try  to  dissuade  him  from 


29 


going  with  Bellido. 

In  the  Romancero  there  is  no  record  of  Bellido1 s being 
punished  for  his  crime,  though  Castro's  play  has  him  tied  to  four 
wild  horses . 

In  the  play,  Alonso  recalls  the  Cid  when  he  has  banished 
him  for  insisting  that  Alonso  take  the  oath  before  he  can  be 
crowned  king,  whereas  the  Romancero  has  the  Cid  banished  and  not 
recalled. 

Comparing  Castro's  play  with  the  play  of  Juan  de  la  Cueva 
based  on  the  same  episodes,  we  find  that  Castro  has  introduced  the 
character  of  Alonso  and  the  incidents  concerning  him,  such  as  the 
love  affair  with  Zaida  and  the  oath  he  is  forced  to  take  and  the 
crowning  of  Zaida. 

F.  EL  COBARDE  MAS  VaLIENTE,  POR  TIRSO  DE  MOLINA31 

Tirso  de  Molina  (if  he  be  the  author)  uses  the  Romancero 
of  the  Cid  as  the  foundation  for  his  drama. 

ACT  I — Payo  Pelaez  is  very  much  ashamed  of  his  son 

/ 

Martin  because  he  is  so  cowardly.  He  arms  his  son  and  sends  him 
with  his  servant  Botija  to  the  Cid,  that  he  may  learn  to  fight. 
Martin  does  not  wish  to  go,  but  he  bids  his  beloved  Sancha  farewell 
and  obeys  his  father's  wishes. 

In  the  court  of  Alfonso,  the  Cid  tries  to  defend  himself 
against  some  slanderers,  but  Alfonso,  angry  because  the  Cid  brought 
so  many  followers  with  him,  banishes  him.  The  Cid  goes  back  to  his 


30 


camp,  where  he  welcomes  Martin  Pelaez  and  tells  him  how  to  conduct 
himself  in  battle. 

In  the  camp  of  the  Moors,  Alvar  Fanez  is  a captive.  The 
king,  Abenamar,  gives  him  his  freedom  and  asks  him  to  tell  Sol,  the 
Cid's  daughter,  that  he  loves  her.  Alvar  refuses  and  tears  up  the 
letter  which  the  Moor  asked  him  to  deliver.  Despite  this  act, 
Abenamar  sets  Alvar  free  but  threatens  to  take  vengeance. 

ACT  II  — The  struggle  between  the  Moors  and  the  Cid  has 
begun.  Sancha,  drawn  by  her  love  for  Martin,  comes  to  the  Cid's 
camp  dressea  as  a boy.  Alvar  Fanez  takes  her  as  his  page.  Martin 
flees  from  the  battle  and  later  seats  himself  at  Alvar  Fanez' s 
table  to  eat.  When  the  Cid  sees  him,  he  tells  him  that  no  one  has 
the  right  to  bread  till  he  has  fought  and  won  the  right  to  eat. 
Martin  goes  back  into  the  battle  and  is  fighting  with  the  Moorish 
king  himself,  but  at  Alvar's  request  he  gives  the  Moor  his  freedom 
since  the  latter  had  set  Alvar  free.  The  Cid  is  very  much  pleased 
over  Martin' 8 new  courage.  Martin  recognizes  his  beloved  Sancha 
and  wishes  to  take  her  from  Alvar*,  who  not  knowing  that  she  is  a 
girl  and  the  beloved  of  Martin,  refuses  to  give  up  his  servant. 
When,  however,  he  overhears  Martin  and  Sancha  talking  and  finds  his 
servant  to  be  a girl,  he  is  stronger  than  ever  in  his  refusal. 
Martin  challenges  him  to  a duel.  Sancha  tries  to  intervene  but  the 
Cid  comes  up  and  they  have  to  stop  their  contest.  The  Cid  is  going 

to  attack  Valencia  and  cannot  have  his  followers  fighting  with  each 

/ 

other.  Nevertheless,  Alvar  and  Martin  threaten  to  kill  each 


other  later  . 


31 

ACT  III  — When  Valencia  is  halfway  taken,  the  Cid's 
forces  suddenly  withdraw  and  he  has  to  urge  them  on  to  the  attack 
again.  Sancha  has  been  taken  prisoner  by  the  Moorish  king,  who  dis- 
covers her  sex  and  wishes  to  make  her  his  wife.  She  flees  and  he 
pursues  her.  Martin  Pelaez  comes  to  her  rescue  just  in  time.  He 
is  to  put  a fire  on  the  wall  to  give  a sign  to  the  Cid  and  his  men. 
They  all  attack  Valencia.  Alvar  Fanez , struggling  with  two  Moors, 
breaks  his  sword  and  is  about  to  be  killed  when  Martin  comes  up  and 
saves  him  and  the  two  become  friends  again.  Valencia  is  taken  and 
they  are  all  happy. 

In  this  play  the  Cid  is  the  central  figure,  although 

Martin  Pelaez  is  a close  second.  Tirso  has  joined  the  episodes  of 

/ ) 

Martin  Pelaez' s cowardice  and  subsequent  bravery  by  introducing 
Sancha,  his  sweetheart  and  using  their  love  affair  as  the  connect- 
ing link. 

Tirso  introduces  Martin's  father,  Payo  Pelaez,  a character 
not  found  in  the  Romancero . Tirso  makes  Alfonso  banish  the  Cid 
because  he  is  angry  that  the  latter  came  to  meet  him  with  so  many 
followers,  whereas  in  the  Romancero,  Alfonso  is  angry  because  of 
the  triple  oath  he  is  forced  to  take  in  Santa  Gadea . 

The  Moorish  characters,  also,  are  not  in  the  romancero 
and  all  the  incidents  connected  with  them  were  invented  by  Tirso. 

The  first  play  treating  of  Martin  Pelaez  was  the  anonymous 

Las  hazanas  del  Cid  £ su  muerte . The  action  of  that  play  centered 

/ 

around  the  Cid,  while  in  Tirso1  s play,  we  have  Martin  almost  as 


32 

/ 

important  as  the  Cid.  Tirso's  play  introduces  Sancha,  Martin’s 
sweetheart  and  the  play  is  concerned  throughout  with  their  love 
affair.  The  anonymous  play  does  not  introduce  such  a character 
nor  such  an  affair,  but  it  aoes  introduce  the  two  Moorish  women 
and  their  husbands.  Tirso  does  not  introduce  Antolinez,  whereas 
the  anonymous  play  does  not  make  Albar  Fanez  nearly  so  important 
a character  as  does  Tirso. 

Tirso  does  not  treat  any  of  the  matter  relating  to  the 
Cid  and  his  death  which  is  found  in  the  third  act  of  the  anonymous 
play. 

The  date  of  the  publishing  of  this  drama  is  not  certain. 
32 

According  to  Barrera,  it  was  probably  also  called  La  Conquista 
de  Valencia  por  el  Cid . 

"Sirvio  de  original  para  la  impresio^  de  esta  comedia 

/ f j 

* * * la  copia  hecha  por  D.  Agustin  Duran  de  una  edicion  suelta 

del  siglo  XVII,  que  poseia  don  Justo  de  Sancha,  en  donde  se 

atribuye  a Fray  Gabriel  de  Tellez  CTirso  de  Molina)  . 

During  the  seventeenth  century  there  were  four  dramas 

/ / 

published  on  the  subject  of  Martin  Pelaez . One  of  these  is  the 
anonymous  play  "Las  hazanas  del  Cid  su  muer te  con  la  tomada  de 
Valencia.  Then  came  Tirso's  El  cobarde  mas  valiente . After 
that  was  El  amor  hace  valientes  by  Juan  de  Matos  Fragoso.  .El  noble 
siempre  es  valiente  by  Zarate  y Castronovo  followed. 

Huerta  mentions  this  last  play  in  his  Catalogo . He  also 
mentions  two  others:  El  cobarde  mas  val iente  by  Molina  and  La 

conquista  de  Valencia  por  el  Cid.  bv  Molina. 

Cotarelo  y Mori  adds: 


33 


/ 1 / 

"De  toaos  estos  el  que  mayor  belleza  dio  al  asunto  fue 

Tirso  de  Molina,  si  es  que  esta  obra  es  suya,  cosa  que  por  hoy  no 
atrevemos  a afirmar  ni  a negar." 

/ 35 

Gr.  EL  HERMANO  DE  SU  HERMAN  A^  POR  BERNARDO  DE  QUIROS 

Bernardo  de  Quiro's  treated  as  a burlesque  the  subject 
matter  of  the  siege  of  Zamora  in  his  play  published  in  1656.^° 

ACT  I — The  scene  opens  at  Toledo  where  King  Alfonso 
stays  as  a prisoner  and  has  an  affair  with  the  Moorish  queen, 
Zoraida.  The  Moor  Zelimo  is  also  in  love  with  the  beautiful 
queen,  and,  being  jealous  of  Alfonso,  he  wishes  to  inform  Zoraida' s 
husband  of  the  affair.  Zoraida  suspects  that  her  husband  will  kill 
her  for  her  infidelity  and  so  she  arranges  a meeting  with  Alfonso 
in  the  morning  during  the  hour  of  mass  in  order  to  talk  things  over. 
Zelimo  informs  the  king, who  decides  to  kill  them  both.  When  the 
two  lovers  come,  Zelimo  advises  Alfonso  to  conceal  himself,  but  he 
wishes  Zoraida  to  be  killed.  However,  after  Alfonso  talks  to  the 
king,  the  latter  is  pacified  and  harms  neither  of  them. 

King  Sancho  is  at  Zamora  and  has  sent  the  Cid  to  his 
sister  Urraca.  The  latter  has  decided  not  to  surrenaer  the  city. 
Sancho  wishes  to  take  it  by  force.  The  Cid  advises  him  not  to, 
since  Urraca  is  his  (the  Cid's)  concubine.  Sancho  is  highly 
honored  at  this,  but  banishes  the  Cid  when  the  latter  says  he  will 
defend  Zamora.  Sancho' s parley  with  Urraca  and  Arias  Gonzalo  does 
not  bring  about  the  results  wished  for. 


34 


In  Toledo,  Zelimo  warns  the  king  against  Alfonso,  who  may 
rob  him  of  the  city.  He  advises  the  king  to  invite  Alfonso  on  Good 
Friday  to  dinner  and  to  serve  a huge  quantity  of  food  and  wine  and 
during  the  meal  to  make  him  swear  never  to  go  out  of  the  palace. 

The  king  doe 3 as  he  is  advised. 

ACT  II  ~ The  servant  Lope  brings  Sancho  a letter  from 
the  Cid,  who  is  living  as  an  exile  in  Paris.  There  is  to  be  a 
duel  between  a certain  Moor  and  Diego,  but  the  latter  cannot  fight 
since  the  doctor  has  forbidden  it.  Urraca  wishes  to  fight  with  the 
Moor,  meanwhile  her  brother  will  pray  for  her.  But  the  Moor  would 
rather  eat  than  fight.  Urraca  does  not  agree  to  this  and  decides 
to  kill  the  Moor.  Then  Arias  Gonzalo  comes  with  a guitar,  by  means 
of  which  the  fight  is  averted. 

Bellido  de  Olfos  comes  into  Sancho 1 s camp  and  wishes  to 
speak  to  the  king  alone.  He  is  afraid  some  one  may  listen,  so  he 
asks  Sancho  to  go  out  into  the  fields  with  him.  When  they  are 
alone,  they  whisper  into  each  other's  ears.  Bellido  tells  the  king 
he  is  going  to  kill  him;  the  king  is  to  choose  the  manner  of  death. 
The  king  urges  Bellido  not  to  kill  him  at  once,  if  he  has  to  kill 
him,  and  thanks  him  for  calling  his  attention  to  it,  for  otherwise 
he  would  have  died  like  a donkey.  Then  the  two  dance  together  and 
finally  Bellido  kills  the  king.  Diego  comes  and  finds  Sancho,  who 
is  quite  dead  but  can  nevertheless  still  talk.  The  king  finally 
tells  Diego  that  Bellido  has  killed  him  and  sends  for  the  Cid. 

When  the  latter  appears,  the  king  wishes  to  make  his  will.  The  Cid 
is  to  go  to  Toledo  and  inform  Alfonso  of  what  has  happened.  Arias 


35 


Gonzalo  sings  out  suddenly  on  the  city  wall  and  warns  Sancho  against 
Bellido,  but  it  is  too  late. 

ACT  III  — Urraca  mourns  for  her  brother's  death.  The 
murdered  king  dressed  in  a surplice  with  a crown  on  his  head  tells 
that  he  will  be  buried  to-day.  He  has  come  back  from  the  other 
world  in  order  to  celebrate  his  sister's  wedding.  Diego  comes 
riding  up  on  a ship  to  challenge  Zamora.  Now  appears  Alfonso  with 
Zoraida  and  the  Moorish  king.  The  latter  frees  the  brother  and 
sister  (Alfonso  and  Urraca)  from  the  obstacle  to  their  marriage: 
viz.  their  blood  relationship.  Sancho  tells  in  great  detail  how 
he  was  married  twice.  During  this  long  speech,  Urraca  and  the 
Moorish  king  become  engaged.  He  wishes  to  become  a Christian  and 
she  a Moor.  Alfonso  also  wants  Urraca  for  his  wife.  She  gives  her 
consent  to  him  also.  In  conclusion,  the  Cid  explains  that  all  these 
flirtations  were  only  jokes. 

Quiro^  treats  the  same  subject  matter  as  does  Castro  in 
the  second  part  of  his  Mocedades  del  Cid,  and  as  do  Cueva  and 
certain  ballads  of  the  Romancero:  viz.  the  Siege  of  Zamora.  This 
play  is  probably  a burlesque  of  Castro's  play  (the  best  known  form 
of  the  three  mentioned  above),  though  we  cannot  assert  this  with 
any  degree  of  certainty. 

He  makes  Zoraida  (Castro’s  creation),  with  whom  Alfonso 
is  in  love  at  Toledo,  the  wife  of  the  Moorish  king  instead  of  merely 
a friend,  and  he  does  not  make  it  simply  a love  affair  between  the 
two,  but  has  Zoraida  actually  unfaithful  to  her  husband. 


36 


Another  startling  change  in  the  Quiros  play  is  the  Cid's  announcing 
to  Sancho  that  Urraca  is  his  concubine.  And  we  find  Sancho  banish- 
ing the  Cid  because  the  latter  was  going  to  defend  Zamora. 

Throughout  the  whole  of  it,  the  play  is  made  ridiculous 
by  such  touches:  Alfonso  and  Zoraida  planning  to  meet  while  the 

Moors  have  gone  to  mass,  the  banished  Cid  going  to  Paris,  Diego 
unable  to  fight  the  duel  with  the  Moor  because  the  doctor  forbids 
it,  Urraca  herself  wishing  to  fight  the  Moor  and  becoming  angry 
because  he  prefers  to  eat,  and  the  fight  at  last  being  prevented 
by  Arias  and  his  guitar. 

The  murder  of  Sancho  is  made  absurd  by  Bellido's  leading 
him  out  into  the  fields  where  no  one  can  hear  and  then  whispering 
into  his  ear  that  he  (Eeliido)  is  going  to  murder  him,  whereupon, 
Sancho  thanks  Bellido  for  the  warning  and  the  two  dance  together. 
Still  more  absurd, after  Sancho  is  dead  he  can  still  talk  and  sends 
for  his  brother  Alfonso  to  come  and  be  king.  Sancho' s spirit 
still  stays  on  to  be  present  at  Urraca' s wedding.  Alfonso  brings 
with  him  not  only  the  Moor  Zoraida  but  also  her  husband  the  king 
and  the  latter  pronounces  it  all  right  for  Urraca  to  marry  her 
brother  Alfonso.  Diego  comes  riding  up  to  Zamora  in  a ship  and 
at  the  end  we  have  Sancho ' s long  account  of  his  two  marriages 
while  the  various  flirtations  with  Urraca  are  going  on.  It  is  in 
regard  to  these  absurd  details  that  this  play  differs  from  Castro's, 
otherwise  the  general  outline  is  the  same  except  for  arrangement 
of  scenes.  Quiros  puts  the  scene  of  Alfonso  at  Toledo  at  the 
beginning  of  the  play  and  does  not  use  Castro's  scene  of  Sancho' s 
fighting  against  Alfonso. 


37 

Barrera  says  that  this  burlesque  is  "una  de  las  mas 
s&zonadas  de  este  genero  que  tiene  nuestrc  teatro."1-' 

H.  EL  AMOR  HACE  VALIENTES,POR  JUAN  DE  MATOS  FRAG0S038 

Another  play  on  the  Martin  Pelaez  theme  is  that  of  Juan 
39 

de  Matos  Fragoso,  1658. 

/ 

ACT  I — Elvira  has  two  lovers,  the  cowardly  Martin 
Pelaez  and  the  brave  Alvar  Fahez.  Alvar  considers  himself  the 
favored  one,  but  Elvira  loves  Martin.  She  will  marry  the  one  who 
is  most  courageous  in  the  fight  for  Valencia.  The  dispute  between 
the  two  knights  ends  with  the  challenging  of  Pelaez  by  Alvar  Fahez. 
The  Cid  cannot  permit  his  men  to  fight  each  other  for  he  needs  them 
in  the  struggle  against  Valencia.  They  are  to  prove  their  bravery 
by  fighting  the  Moors  and  not  each  other.  Each  is  appointed  leader 
of  a squadron.  Martin  Pelaez  becomes  frightened,  but  he  takes  com- 
mand of  his  men.  In  order  that  she  mav  recognize  her  lover  in  the 
battle,  Elvira  gives  him  a ribbon  to  fasten  on  his  breast.  Alvar 
ridicules  it  and  thinks  she  can  recognize  him  better  by  his  coward- 
ice. Elvira  hopes  that  Martin  will  justify  her  trust,  for  love 
alone  is  not  to  decide  her  choice  of  a husband.  Martin  encourages 
her  concerning  his  bravery.  But  before  the  battle  he  discloses  his 
fear  to  his  servant  Gergon,  who  is  the  gracioso  of  the  play,  and 
complains  that  Elvira's  ribbon  is  disagreeable  to  him.  Finally  he 
determines  not  to  take  part  in  the  battle  at  all;  but  to  pass  him- 
self off  as  sick.  However,  he  then  fears  the  doctors,  who  might 
kill  him,  and  so  rather  goes  into  battle. 


38 

The  fight  has  already  begun.  The  king  of  the  Moors 
challenges  his  soldiers,  who  are  already  beginning  to  flee,  to 
show  again  their  valor,  and  calls  especially  upon  his  son.  Cel in, 
who  also  loves  Elvira,  to  serve  as  an  example  to  the  rest  of  the 
Moors.  They  are, nevertheless,  put  to  flight  by  the  Castilians. 

To  his  horror,  the  Cid  sees  Martin  fleeing.  Martin  and  his  servant 
try  to  hide  themselves.  The  Cia  does  not  let  them  know  that  he 
sees  them  and  postpones  the  reprimand  till  later.  When  the  two 
cowards  meet  Cel in  and  some  Moors,  they  are  still  more  terrified, 
but  they  are  discovered  by  Cel in  who  throws  their  cowardice  in 
their  faces.  Martin  Pelaez  seeks  to  cover  his  cowardice  by  a lie, 
pretending  that  he  fell  from  his  horse  and  explains  that  for  shame 
he  hid  himself  when  he  heard  footsteps.  Celin  will  not  believe  his 
story  and  wishes  to  take  vengeance  on  him  since  he,  too,  is  in  love 
with  Elvira.  Martin  explains  that  he  would  rather  be  Celin' s 
prisoner  than  fight  with  him.  Celin  demands  Elvira's  ribbon  and 
tears  it  from  Martin's  breast  despite  the  latter's  resistance. 
Martin  is  thereby  sufficiently  branded.  Alvar  Fanez,  who  has 
proven  himself  surpassingly  brave  in  battle,  comes  with  some  colors 
he  has  captured  and  which  he  wishes  to  lay  down  a while.  When  he 
has  gone,  Martin  appropriates  these  trophies,  and  returns  to 
Elvira  at  the  same  time  as  Alvar.  Alvar  offers  her  the  captured 
Moors  while  Martin  shows  the  captured  colors  to  bear  witness  to 
his  bravery.  Elvira  notices  the  loss  of  her  ribbon.  Alvar 
expresses  the  suspicion  that  the  colors  brought  by  Martin  were 
captured  by  himself.  At  last  the  Cid  comes  and,  after  telling 
that  Martin  had  fled,  says  he  wishes  to  speak  to  him  alone.  The 


39 


well  knov/n  table  scene  is  now  presented.  The  Cid  assigns  them  all 
to  their  places.  Without  being  told  to  do  so  Martin  sits  beside 
Pedro  Bermudez.  Thereupon  the  Cid  reproaches  him  and  summons  him 
to  the  place  by  his  side.  Then  the  Cid  rebukes  him  for  his 
cowardice  and  sends  him  away.  A warrior  without  honor  does  not 
belong  at  the  table  with  tried  knights. 

ACT  II  — Martin  Pelaez  goes  to  Elvira's  house  and  she 
asks  him  about  the  ribbon.  He  tells  her  his  servant  gave  it  to  a 
Moor.  Elvira  believes  him,  but  considers  it  queer  that  a lover 
could  esteem  so  little  a gift  received  from  his  beloved.  She 
becomes  offended  and  leaves  him.  The  Cid  comes  and  in  order  to 
challenge  Martin  to  make  good  his  cowardice,  tells  of  the  glorious 
deeds  that  he  and  Martin's  father  had  performed  in  their  youth. 

In  the  meantime,  Cel in  comes  to  negotiate  with  the  Cid  in  regard 
to  peace.  Everybody,  even  Martin  when  he  sees  Elvira's  ribbon  on 
the  Moor's  breast,  wishes  to  continue  the  battle.  The  Cid  wishes 
to  take  Valencia  in  a siege.  Celin  seeks  Elvira  and  finds  her. 

She  demands  her  ribbon;  the  Moor  tells  her  that  he  took  it  away 
from  a cowardly  warrior  not  worthy  of  her  love.  Elvira,  believing 
otherwise,  charges  him  with  stealing  it  from  a servant,  as  Martin 
had  told  her  so  himself.  Celin  explains  to  her  fully  Martin's 
cowardice,  and  refuses  to  restore  the  ribbon  to  her.  She  proposes 
to  forget  Martin,  since  she  cannot  marry  a coward.  She  accuses 
her  lover  of  lying.  In  order  to  punish  him,  she  sends  for  Alvar 
Fanbz,  since  he  is  the  braver  one,  gives  him  a ribbon,  and  promises 
him  her  love.  Alvar  is  very  happy  and  Martin  is  overcome  with 
jealousy.  The  battle  begins  anew. 


40 

ACT  III  — The  Moors  undertake  a new  sally  from  the  city. 
The  Cid  challenging  his  soldiers  to  show  new  courage  in  the  battle, 
promises  Elvira's  hand  to  the  bravest.  Martin  undertakes  to  win 
back  his  reputation  and  sends  for  Alvar.  The  latter  appears  and 
they  begin  a duel  in  which  Alvar  is  overcome.  Martin  grants  him 
his  life,  but  when  Alvar  says  he  does  not  thank  Martin  for  his 
generosity,  the  latter  attacks  him  again.  Finally  the  Cid  inter- 
venes and  rebukes  the  two  combatants  for  having  nothing  better  to 
do  than  fight  a duel  at  the  beginning  of  the  battle.  Secretly  he 
is  pleased  over  Martin's  bravery.  The  two  jealous  knights  swear  to 
get  revenge  during  the  battle.  Elvira  has  seen  Martin's  bravery 
against  Alvar,  and  challenges  Martin  to  show  this  same  courage 
against  the  Moors.  She  bemoans  to  her  servant  that  in  spite  of 
her  love  for  him  she  cannot  marry  Martin,  if  he  again  prove  himself 
a coward,  since  the  Cid  would  not  permit  it.  She  is  unwilling  even 
to  hear  again  the  name  of  Alvar  Fanez.  In  the  meanwhile,  Martin  has 
gone  into  the  battle  and  strikes  terror  into  the  Moors.  Cel  in  is 
compelled  to  flee  before  him.  Martin  follows  him  and  forces  him 
to  fight.  The  Moor  is  overcome  and  begs  for  his  life  and  immedi- 
ately gives  over  to  his  victor  Elvira's  ribbon.  Alvar  F^.nez  comes 
up  and  say 8 that  unless  Cel in  ascribe  this  deed  to  him,  he  will 
kill  him.  Martin  will  not  permit  this  and  challenges  Alvar  to  a 
duel  which  is  ended  by  the  Cid's  arrival.  The  Cid  assures  both 
knights  that  on  account  of  their  courage  and  intrepidity  they  have 
both  won  Elvira.  He  must  leave  the  choice  to  her.  She,  of  course, 
chooses  Martin.  In  order  to  reward  Alvar,  the  Cid  appoints  him 

general.  Celin  is  released  and  the  Cid  receives  the  keys  to  Valen- 
cia. 


41 


Fragoso  very  evidently  borrowed  nothing  from  the 
anonymous  play  on  this  subject,  since  he  introduces  a sweetheart, 
Elvira,  and  there  is  no  such  character  in  the  anonymous  drama.  He 
does  not  use  the  Moorish  characters  of  which  the  first  drama  made 
use.  In  fact  he  has  nothing  in  common  with  the  anonymous  production 
except  the  conversion  of  Martin  from  cowardice  to  bravery  and  even 
this  conversion  is  due  to  different  means  in  the  two  plays.  In  the 
anonymous  play  it  is  the  words  of  the  Cid  that  fire  Martin  with 
courage,  whereas  in  Fragoso' s play,  it  is  love  for  Elvira  that 
changes  Martin. 

Tirso's  play,  El  cobarde  mas  valiente  may  have  affected 

40 

Fragoso.  Hamel  says  we  cannot  determine  whether  it  did  or  not. 

At  any  rate  the  treatment  is  the  same  in  that  both  Tirso  and 
Fragoso  base  Martin's  redemption  from  cowardice  on  his  love  for  a 
woman  (in  the  one  case  Elvira,  and  the  other  Sancha) , and  on  his 
jealousy  of  Alvar  Fahez . However,  the  details  of  the  two  love 
affairs  differ.  Tirso  has  Sancha  follow  Martin  from  his  home  to  the 
camp  disguised  as  a boy  and  attach  herself  as  page  to  Alvar  Finez, 
and  thus  are  started  the  jealousy  and  quarrel  between  the  latter 
and  Martin.  Sancha  is  later  captured  by  the  Moors  and  rescued  by 
Martin,  who  is  mainly  instrumental  in  the  taking  of  the  city  of 
Valencia.  InFragoso's  play,  Elvira,  Martin's  sweetheart,  is 
already  at  the  camp  and  Alvar  and  Martin  are  her  lovers.  The  ribbon 
episode  plays  a very  important  part  throughout  Fragoso' s drama  and 
is  not  found  elsewhere.  Martin  does  not  play  as  important  a role 
in  the  taking  of  Valencia  as  he  does  in  Tirso's  play.  Elvira  is 


42 


not  captured  fey  the  Moore,  but  chooses  Martin  as  her  husband,  when 
the  Cid  presents  them  both  to  her  for  her  choice  after  they  have 
proven  themselves  equally  courageous  in  battle;  whereas  in  Tirso's 
play  Alvar  gave  up  his  claims  to  Sancha,  since  Martin  had  so  nobly 
rescued  him  from  the  Moors. 

Fragoso  has  used  very  little  of  the  Romancero  material, 
merely  the  episode  of  Martin's  conversion,  the  cause  of  which  he 
changes  from  the  Cid' s words  of  challenge  to  the  love  for  Elvira 
and  jealousy  of  Alvar,  which  are  not  founa  in  the  Romancero. 

The  table  scene,  where  Martin  wishes  to  sit  with  the 
Cid' s bravest  men  and  is  rebuked  by  the  Cid,  is  also  Romancero 
material,  as  is  the  capture  of  Valencia  by  the  Cid.  The  rest  of 
the  play  has  no  basis  in  the  Romancero. 


I.  EL  HONRADOR  DE  SU  PADRE, POR  JUAN  BAUTISTE  DIAMANTE41 

Diamante  also  has  treated  the  subject  matter  of  the  Cid's 
youth  in  a drama  published  in  1658 

ACT  I — Jimena's  father,  the  Count  Lozano  tells  Elvira, 
Jimena's  maid,  that  he  is  going  to  arrange  his  daughter's  marriage 
with  Rodrigo,  son  of  Diego  Lainez.  He  goes  to  the  court  where  the 
king  is  to  appoint  a preceptor  for  the  prince  and  the  count  expects 
to  receive  this  honor. 

Just  after  Elvira  tells  J imena  that  her  father  approves 
her  love  for  Rodrigo,  the  latter  comes  into  the  room.  J imena 
rebukes  him  for  his  boldness,  but  he  begs  her  for  a picture  of 
herself,  which  she  refuses. 


43 


The  infanta  tells  Elvira  to  have  Jimena  come  and.  see  her 
to  cheer  her  in  her  sadness. 

The  king  enters  with  his  nobles  and  expresses  satisfaction 
at  his  selection  of  Diego  Lalnez  as  preceptor  to  the  prince. 

Lozano  is  enraged  because  he  did  not  receive  the  honor.  The  others 
go  out  leaving  Diego  and  Count  Lozano  alone.  They  start  to  arrange 
the  marriage  of  Jimena  and  Rodrigo,  but  the  Count’s  jealousy  gets 
the  better  of  him;  they  quarrel  and  the  Count  slaps  the  old  man 
and  snatches  His  sword  and  lets  it  fall  on  the  floor.  Rodrigo  and 
Nufto  his  servant  enter.  Nuno  gives  his  master  a picture  of  Jimena 
that  a painter  had  made  of  her.  Rodrigo  notices  his  father's 
strange  attitude.  Diego  wishing  to  test  his  son  asks  him  if  he 
has  any  courage.  Rodrigo's  fierce  answer  delights  the  old  man,  who 
describes  the  count's  insult  and  asks  Rodrigo  to  avenge  the  honor 
of  the  family.  To  encourage  his  son  Diego  gives  him  the  sword  of 
the  famous  Mudarra.  Rodrigo  looks  at  the  picture  of  Jimena  and 
struggles  for  a minute  between  his  love  and  his  duty  to  his 
father,  but  finally  decides  to  preserve  the  honor  of  his  family. 

ACT  II  — Don  Sancho  tries  to  persuade  the  count  to  make 
some  reparation  for  his  insult.  The  king  threatens  to  punish  him 
if  he  does  not,  but  the  count  refuses.  Rodrigo  warns  the  count 
that  he  is  going  to  avenge  the  insult  to  his  father.  The  count 
scof f 8 at  him. 

The  king  orders  the  count  to  be  arrested.  The  infanta 
makes  a plea  for  him  for  Jimena' s sake. 

The  servant  Nuno  is  brought  in  with  his  hands  tied. 

The  count  has  been  killed  and  Nufib  tries  to  assume  the  guilt: 


44 


"Vi  que  si  conde  tenia  harnbre 
Y le  envi^  a cenar  con  Cristo" 

he  says.  Eut  it  is  known  that  Rodrigo  killed  him. 

Diego  and  J imena  enter  and  both  fall  at  the  feet  of  the 
king.  J imena  asks  that  her  father's  murderer  be  punished.  Diego 
begs  that  he  be  spared, since  the  death  was  just,  and  moreover,  it 
was  hi3  and  not  his  son's  deed.  The  king  does  not  know  how  to 
decide.  He  has  Diego  imprisoned  and  tells  Sancho  to  escort  Jimena 
to  her  house . 

Rodrigo  goes  to  Jimena' s house  and  Elvira  hides  him. 

Jimena  returns  and  confesses  to  Elvira  that  she  loves  her  father's 
murderer,  yet  she  still  calls  for  vengeance.  He  comes  out  and  begs 
her  to  kill  him.  She  says  that  although  she  loves  him,  she  will 
cause  the  king  to  kill  him  and  then  she  will  die  herself.  Don  Diego 
finds  his  son  at  the  house  of  his  enemy  and  is  very  indignant.  He 
tells  Rodrigo  to  flee  before  the  king  imprisons  him  and  to  go  to 
Burgos  and  free  the  people  there  from  the  terror  of  the  Moors  who 
rob  and  pillage  the  highways.  In  this  way  he  may  perhaps  appease 
the  king. 

ACT  III  — Elvira  tells  Jimena  how  well  Rodrigo  has 
acquitted  himself  in  behalf  of  his  king.  Jimena  refuses  to  pardon 
him  even  though  the  king  may  do  so.  The  infanta  enters  and  begs 
Jimena  not  to  demand  Rodrigo's  life  (even  if  she  will  not  forgive 
him),  since  he  ha3  proven  himself  to  be  a brave  defender  of  his 
country.  Jimena  leaves,  continuing  to  mourn. 


45 


The  king  enters.  Rodrigo  returns  and  the  king  forgives 
and  honors  him  for  his  brave  deeds  in  overcoming  the  Moors.  J imena 
comes  to  beg  justice.  Although  Rodrigo  wishes  to  leave,  the  king 
makes  him  stay.  J imena  demands  that  Rodrigo  be  punished  and  the 
king  finally  declares  that  although  he  wishes  to  pardon  Rodrigo,  his 
life  must  be  in  Jimena's  hands.  She  must  pass  sentence  upon  him. 

The  infanta  is  greatly  distressed  at  her  father's  verdict.  Jimena 
is  overcome  and  does  not  know  what  to  do.  Rodrigo  is  put  under 
guard.  He  realizes  that  Jimena  is  listening  to  him  so  he  tells 
Nuno,  his  servant,  how  willing  he  is  to  die  since  he  has  no  wish  to 
live  without  Jimena.  Don  Diego  comes  in  and  bemoans  his  son's 
approaching  death,  but  Rodrigo  declares  that  he  wishes  to  die  since 
Jimena  wishes  it.  Jimena  can  bear  it  no  longer.  When  Diego  goes 
away,  she  comes  out  and  declares  her  love  to  Rodrigo  and  refuses  to 
allow  the  guards  to  lead  him  away  when  they  come  to  take  him.  The 
king,  the  infanta  and  Diego  enter  and  she  tells  them  that  she  is 
going  to  marry  Rodrigo.  The  king  and  the  infanta  offer  to  be  the 
sponsors . 


Diamante  has  added  his  own  inventions  to  the  story  in  the 
Romancero  and  has  made  his  drama  differ  from  Castro's  Mocedades.  too 
In  the  character  Nuno,  Rodrigo's  servant,  he  has  introduced  a 
gr ac ioso  element  and  a person  that  is  found  neither  in  the  Romancero 
nor  in  Castro.  He  uses  Elvira,  Jimena's  maid,  whom  he  probably 
borrowed  from  Castro's  play,  since  she  does  not  appear  in  the 
Romancero.  All  the  scenes  of  the  first  act,  up  to  the  testing  of 
Rodrigo  by  hi3  father  after  the  latter  has  been  insulted,  are 


'■ 


46 


Diamante' 8 own,  having  no  parallel  either  in  the  Romancero  or  in 
Castro's  play.  Practically  the  only  incident  that  is  common  to 
the  two  dramas  is  the  scene  of  Lozano's  insult,  and  even  in  this 
the  two  differ  widely  in  setting.  Diamante  having  the  two  men 
alone  when  the  incident  occurs,  whereas  Castro  has  the  king  and 
all  his  nobles  present  at  the  insult. 

Diamante  has  Diego  test  Rodrigo  by  asking  him  the 
insulting  question,  whether  he  has  any  courage,  whereas  the 
Romancero  and  Castro  have  Diego  grip  the  hands  of  all  his  sons, 
one  after  the  other,  and  find  that  Rodrigo  alone  reacts  thereto 
as  he  would  wish.  The  other  sons  of  Diego  are  entirely  left 
out  in  Diamante's  play. 

In  this  play,  Don  Sancho  begs  the  Count  Lozano  to  make 
some  reparation  for  his  insult;  in  Castro's  play  it  was  only  the 
king  who  made  this  request.  This  incident  does  not  occur  in  the 
Romancero.  The  infanta  does  not  appear  in  the  Romancero  nor  in 
Castro  as  pleading  in  behalf  of  Lozano  for  Jimena's  sake,  when 
the  king  orders  him  arrested. 

Neither  in  the  Romancero  nor  in  Castro's  play  does  Diego 
find  Rodrigo  in  Jimena's  house,  after  the  death  of  her  father. 

It  is  Diamante's  invention  to  have  Elvira  tell  her 
mistress  of  Rodrigo's  brave  deeds,  and  to  have  the  infanta  beg 
Jiraena  not  to  demand  Rodrigo's  life. 

The  ending  is  the  same  in  both  dramas  and  in  the 
Romancero,  but  the  means  to  the  end  differs  in  all  three  cases. 

As  has  been  mentioned  above,  the  Romancero  has  Jimena  of  her  own 
accord  ask  to  marry  Rodrigo.  Castro  has  the  fight  between  Martin 


4? 


Gonzalo  and  the  Cid  decide  as  to  who  should  marry  Jimena. 

Diamante  has  the  less  dramatic  but  perhaps  more  true-to-life  means 
of  having  Jimena  overhear  Rodrigo  (who  knows  she  is  listening) 
rejoicing  in  his  death  since  Jimena  wishes  it  and  since  by  her 
sentence  he  is  to  die. 


J.  EL  CID  CAMPEADOR  Y EL  NOBLE  SIEMPRE  ES  VALIENTE, 

/ £L  ^ 

POR  FERNANDO  DE  ZARATE  Y CASTRO NO VO 

Another  play  concerning  the  Cid's  attack  on  Valencia 

44 

by  Zarate  y Castronovo  appeared  in  1660. 

ACT  I — The  first  scene  is  in  the  camp  of  the  Moors. 

Not  only  men,  but  also  women  take  part  in  the  fighting,  especially 
King  Bucar ' s daughter,  who  has  just  come  back  from  a siege  and 
relates  in  verbose  manner  her  brave  deeds.  She  is  constantly 
thinking  of  new  expeditions,  and  when  she  hears  that  the  warriors 
of  King  Alfonso  are  coming  to  attack  Valencia  she  wishes  to  pre- 
pare an  attack  for  them. 

The  scene  changes  to  King  Alfonso's  palace.  The  Cid  has 
attacked  Toledo  against  the  king's  wishes.  Thereupon  the  courtier, 
Bermudo,  reminds  Alfonso  of  the  oath  which  the  king  had  to  swear 
in  Santa  Gadea,  hinting  that  it  is  evident  that  the  Cid  considers 
himself  the  master  of  Spain,  especially  since  the  king's  summoning 
him  to  court  had  had  no  effect.  Alfonso  is  determined  to  banish 
the  Cid.  When  the  latter,  with  his  faithful  Alvarfanes  and  Lain, 


48 


enters,  he  is  ungraciously  received.  The  king  re’oukes  him  for  the 
above  mentioned  faults.  At  first  the  king  will  not  hear  the  Cid, 
but  finally  gives  in  and  listens  to  the  frank,  bold  defense  of  his 
vassal,  who  attributes  his  loss  of  kingly  favor  to  slanderers.  In 
conclusion  the  Cid  turns  to  the  courtiers  and  reminds  them  of  their 
cowardice,  when  they  left  the  king  a prisoner  in  the  hands  of  forty 
Moors,  and  Bermudo,  who  flatters  him  now,  was  among  the  first  to 
flee.  The  Cid,  on  the  other  hana,  killed  thirty  of  the  captors 
and  put  the  rest  to  flight.  The  king  ignores  the  Cid' s defense 
and  banishes  him  for  a year.  The  Cid  says  he  will  remain  willingly 
four  years  in  banishment.  His  friends  are  astonished  that  he  takes 
the  insult  of  the  king  so  patiently.  However,  he  shows  them  that 
he  is  only  a vassal  and  as  proof  thereof  will  seize  Valencia  for 
Alfonso.  In  view  of  this,  the  Cid  sends  Albarf^nes  for  his  (the 
Cid' s)  cousin,  Martin  Pel^ez,  who  should  be  an  excellent  soldier. 
Martin  is  an  idealist  and  at  first  will  not  listen  to  anything 
about  fighting.  As  an  obedient  son,  however,  he  allows  his  father 
to  gird  him  with  arms  and  goes,  though  unwillingly,  with  his  ser- 
vant to  the  Cid's  camp.  Before  leaving,  he  meets  his  beloved, 
Elvira,  ana  tells  her  of  the  brave  aeeds  he  expects  to  perform. 

ACT  II  — Martin  Pelaez  comes  into  the  camp  and  is 
received  among  the  soldiers.  The  march  is  already  started  toward 
Valencia,  which  Bucar,  king  of  the  Moors,  is  defending.  At  the 
first  battle,  Martin  stays  back  and  tries  to  hide  with  his  servant, 
but  the  Cid  has  noticed  the  cowardice  of  the  two  ana  is  very  angry. 
He  oraers  that  the  meal  be  prepared.  Two  tables  are  brought;  at 


43 

one  of  them  Albarfanes  and  Lain  sit;  and  the  Cid  takes  a place  at 
the  other.  Martin  starts  to  sit  down  with  the  knights,  but  the 
Cid  prevents  him.  He  must  sit  at  the  table  with  the  Cid. 

Albarfanes  and  Lain  amuse  themselves  over  Martin’s  cowardice,  but 
the  Cid  does  not  mention  it.  He  wishes  to  wait  till  he  is  alone 
with  Martin.  Then  he  makes  it  clear  to  him  how  cowardly  it  was 
for  him  to  flee  from  the  enemy . It  would  be  better  for  him  to 
retire  into  a cloister,  for  the  Cid  cannot  have  a coward  among  his 
nobles.  Martin  throws  himself  among  the  Moors  with  such  zeal  that 
he  kills  300  of  them.  Now  he  may  sit  with  the  other  knights  and 
be  congratulated  by  them.  The  Cid  receives  two  letters,  one  from 
Alfonso  and  one  from  Jimena.  The  latter  complains  that  she  is 
detained  as  a prisoner  by  the  king,  who  has  seized  all  her  goods. 
Alfonso's  letter  orders  that  the  Cid shall  come  to  court  at  Burgos. 
Martin  is  sent  thither  with  rich  presents  for  the  king.  Bermudo 
advises  him  not  to  take  the  presents,  since  a disobedient  vassal 
presents  them.  Although  Martin  defends  his  commander,  the  king 
decides  to  take  the  Cid  to  Leon  as  a captive.  When  the  Cid  comes 
to  Burgos,  Bermudo  wishes  to  carry  cut  the  king's  orders.  But 
Alfonso  talks  with  the  Cid  alone,  brings  up  the  old  accusation 
and  wishes  to  know  his  aim;  since  he  is  attacking  Valencia  he 
surely  wishes  to  be  king.  The  Cid  reminds  Alfonso  of  the  services 
which  he  did  his  father  Fernando  and  tells  him  that  if  the  king 
wishes,  he  will  even  take  Constantinople  for  him,  too.  He  has 
always  defended  the  rights  of  Spain  even  before  those  of  the  Pope. 
The  king's  picture  falls  suddenly  from  the  wall,  and  the  Cid  catches 


50 


it.  The  Cid  says  that  this  is  a sign  that  he  in  reality  guards 
the  king.  At  last  Alfonso  gives  him  permission  to  seize  Valencia. 
So  the  Cid  departs  reconciled.  Elvira  goes  in  search  of  her  lover, 
Martin,  and  meets  on  the  way  the  Moorish  princess,  who  takes 
Elvira  to  Valencia  and  tells  her  that  she  must  now  fight  against 
the  Cid. 

ACT  III  — Martin  comes  as  envoy  to  the  Moorish  camp 
to  demand  the  surrender  of  Valencia.  We  learn  that  the  Cid  has 
already  besieged  the  city  for  a year.  Bucar  will  not  accede  to 
the  demand.  Martin  meets  Elvira  in  the  Moors'  camp,  but  the 
princess  will  not  consent  to  let  Elvira  go  with  him.  Martin  is 
determined  to  free  his  beloved  or  die.  The  Moorish  king  wishes 
to  kill  him,  although  he  has  come  as  envoy.  Fortunately,  the 
princess  intervenes  on  his  behalf,  since  she  is  touched  by  his 
love  for  Elvira,  whom  she  at  last  sets  free. 

The  battle  begins  anew.  Alfonso  comes  to  the  Cid's 
camp  and  passes  himself  off  as  the  knight,  Enrique  of  Castile,  in 
order  to  test  the  Cid.  The  Cid  inquires  of  him  how  things  are 
going  at  court.  Alfonso  tells  him  that  things  are  as  usual  and 
that  the  king  listens  only  to  flatterers  and  is  cruel,  vindictive, 
and  ambitious.  The  Cid  will  not  listen  to  such  a speech  and 
informs  Alfonso  ( Enrique)  that  he  cannot  be  his  friend  if  he  says 
evil  things  about  the  king.  He  challenges  him  to  a duel.  Alfonso 
is  so  rejoiced  over  this  that  he  praises  the  Cid  for  his  loyalty 
and  promises  him  Valencia.  The  Cid  does  not  yet  know  that  his 
king  speaks  with  him  under  the  name  of  Enrique  and,  taking  him 


51 


for  a tempter,  draws  his  sword.  The  king  then  makes  himself 
known.  Before  Bermuao  and  the  other  knights,  the  king  gives  a 
eulogy  on  the  Gid,  who  is  raised  in  rank  above  all  the  slanderers. 

The  Moors  are  overcome.  Martin  and  Albarfanes  fight 
over  the  Moorish  princess,  but  she  is  set  free  by  the  Cid.  After 
this  battle  the  hero  withdraws  and  a messenger  from  heaven 
announces  to  him  his  approaching  death.  He  gives  his  friends 
directions  about  what  they  are  to  do  with  him  after  his  death. 

He  wishes  the  king  all  happiness  for  the  future  and  entrusts 
Jimena  to  him.  Then  the  Cid  dies.  King  Bucar  advances  from 
the  sea  against  Valencia.  The  dead  Cid  is  tied  on  his  horse 
and  so  rides  before  all  into  the  battle.  The  Moors  are  put  to 
flight.  Then  the  Cid  is  buried  with  great  ceremony. 


Zarate  y Castronovo  has  invented  the  Moorish  character, 
King  Bucar' s daughter,  and  all  the  episodes  concerning  her.  Her 
account  of  her  brave  deeds,  her  capture  of  Elvira,  her  rescue  of 
Elvira  and  Martin  from  her  father,  Bucar,  and  the  fight  between 
Martin  and  Albarfanez  over  her,  all  are  Zarate's  own  invention, 
not  found  in  the  Romancero,  nor  in  any  of  the  three  previous  plays 
on  this  subject. 

The  scene  of  the  banishment  of  the  Cid  by  Alfonso  is 
based  on  the  Romancero,  but  in  the  latter  the  Cid  has  not  attacked 
Toledo  against  the  king's  orders,  nor  refused  to  appear  in  court, 
when  summoned.  The  Cid's  account  of  his  defense  of  the  king 
against  forty  Moors  is  not  in  the  Romancero. 


52 


The  scene  of  the  CicL's  banishment  we  have  already  found 
in  Tirso's  play,  El  cobarde  mas  val iente,  though  Tirsc's  scene 
is  not  so  dramatic.  Bermudo  did  not  appear  therein  as  the  liar 
and  flatterer,  the  King  had  been  influenced  against  the  Cid  by 
flatterers,  but  his  anger  at  the  moment  was  roused  because  the  Cid 
had  brought  so  many  followers  with  him,  when  he  came  to  interview 
the  king. 

Zarate  makes  the  Cid  send  for  Martin  Pelaez,  because  he 
is  supposed  to  be  a brave  man.  This  is  not  found  either  in  the 
Romancero  or  in  any  of  the  previous  plays.  In  the  Romancero  there 
is  no  account  of  how  Martin  came  to  be  with  the  Cid,  neither  is 
there  any  account  in  the  anonymous  play,  nor  in  that  of  Matos 
Fragoso.  Tirso  has  Martin's  father  send  Martin  to  the  Cid  in  order 
to  cure  him  of  his  cowardice. 

The  table  scene  is  about  the  same  in  the  Romancero  and 
in  all  of  the  plays,  except  that  in  our  present  play  the  author 
represents  Albarfanes  and  L a in  as  jesting  at  their  table,  about 
Martin’s  cowardice,  whereas  the  other  plays  do  not  mention  this. 

All  the  plays,  except  the  anonymous  one,  have  Martin 
accompanied  by  his  servant,  although  the  servant  does  not  appear 
in  the  Romancero. 

There  is  no  mention  in  the  Romancero,  nor  in  any  of  the 
earlier  plays,  of  the  Cid's  receiving  letters  from  Jimena  or  the 
king. 

Zarate  has  a character,  Elvira,  who  is  a sweetheart  for 
Martin.  This  is  the  same  name  that  Matos  Fragoso  used  for  her, 
but  she  corresponds  in  actions  and  circumstances  more  to  Tirso's 


53 


Sancha,  in  that  she  lived  away  from  the  Cid's  camp,  came  to  the 
camp  in  search  of  Martin  and  was  captured  by  the  Moors.  Tirso's 
Sancha,  however,  was  captured  later  on  in  the  story,  and  Martin 
fought  to  free  her,  whereas  in  Zarate's  play,  Elvira  was  freed  by 
the  Moorish  princess. 

Martin  is  sent  as  envoy  to  the  Moorish  king  in  Zarate's 
play.  This  does  not  occur  in  any  of  the  other  plays  nor  in  the 
Romancer o . 

Another  invention  of  ZaJate  was  the  testing  of  the  Cid 
by  Alfonso,  when  the  latter  came  to  the  Cid' s camp  disguished  as 
Enrique.  This  incident  does  not  occur  elsewhere,  but  Zarate  has 
made  of  it  a very  interesting  scene. 

K.  EL  HONRADOR  DE  SUS  HIJAS,  POR  FRANCISCO  POLO45 

In  1565,^®  appeared  Francisco  Polo's  play  treating  the 
marriages  of  the  Cid's  daughters  with  the  Infantes  of  Carridn. 

ACT  I — King  Alfonso  has  decided  to  give  the  Cid's 
daughters,  Elvira  and  Sol,  in  marriage  to  the  Infantes  of  Carridn, 
Diego  and  Fernando.  Albar  Fahez  is  to  communicate  this  resolution 
to  the  Cid.  The  infantes  express  in  high  sounding  words  their 
thanks  for  this  honor.  In  secret,  Fernando  rejoices  that  he  will 
be  able  to  take  vengeance  on  the  Cid.  When  he  is  alone  with  Diego* 
he  tells  his  brother  that,  at  the  siege  of  Zamora, he  had  been  pur- 
sued unarmed  and ^ in  order  to  save  his  life,  had  been  forced  to  flee. 


54 


The  Cid  had  seen  this  and  had  taken  him  to  task  before  all  the 
knights.  For  this  reason,,  he  had  sworn  to  take  vengeance  on  the 
Cid,  and  considered  the  present  opportunity  as  very  favorable, 
since  the  king  had  granted  his  request  for  one  of  the  Cid's 
daughters  as  his  wife.  But  Diego  considers  it  cowardly  for 
Fernando  to  take  vengeance  on  a woman. 

Albar  Fanez  takes  to  the  Cid  the  king's  message.  The 
Cid,  the  night  before,  has  had  an  uneasy  dream.  He  calls  his  wife 
and  his  two  daughters  and  tells  them  how  he  has  seen  two  beautiful 
women,  bound  to  trees,  alone  in  the  woods.  Then  Saint  Lazarus  has 
appeared  to  him  and  announced  that  he  is  to  be  the  pride  of  the 
Christians  and  the  terror  of  the  Moors  and  will  die  covered  with 
glory  and  will  protect  the  honor  of  his  daughters.  Jimena  con- 
siders the  dream  only  the  product  of  a momentary  uneasiness,  but 
the  Cid  believes  it  to  be  a true  prophecy.  His  daughters  are 
very  much  frightened.  There  follows  a superfluous  scene  between 
the  Cid  and  Jimena,  who  say  nothing  but  flattering  remarks  to  each 
other  until  Albar  Fdnez  appears  as  a messenger  from  King  Alfonso. 
After  a long  introduction  in  which  he  speaks  of  the  glorious  deeds 
of  the  Cid,  of  those  of  the  king,  and  of  his  own,  they  finally 
learn  that  he  brings  a message  from  the  king.  Jimena,  who  has 
withdrawn,  suddenly  becomes  inquisitive  and  conceals  herself  and 
listens  to  the  conversation.  She  hears  that  the  king  wishes  to 
marry  her  daughters  tc  the  infantes.  Jimena  suddenly  springs 
from  her  hiding  place  and  says  that  she  does  not  wish  her  daughters 
to  marry  the  infantes,  since  the  girls  do  not  have  anv  fancy  for 

The  Cid  has  already  given  his  promise  and  Alvar  Fanez 


the  counts. 


55 


is  to  take  the  Cid' s answer  to  the  king.  But  when  the  messenger 
has  gone,  the  CidL  recalls  Fernando's  cowardice  at  Zamora  and,  like 
his  wife,  he  is  concerned  over  his  daughters'  future. 

ACT  II  - — The  wedding  festival  takes  place.  The  king 
is  present  and  notices  that  Jimena  cannot  join  in  the  festivities. 
He  tells  the  infantes  to  give  expression  to  their  joy.  They  do  so 
in  gallant  words,  but  Fernando  is  secretly  rejoicing  over  his 
revenge.  The  banquet  begins.  The  women  sit  on  the  right  of  the 
king  and  the  men  on  the  left.  They  amuse  themselves  in  character- 
istic fashion  at  the  lovers'  expense.  Even  the  Cid  and  Jimena 
take  part  in  the  talk.  After  the  feast,  the  Cid  presents  to  each 
of  his  two  sons- in-law,  a sword.  Every  one  goes  away  except  the 
two  infantes.  Suddenly  behind  the  scenes  is  heard  a cry  that  a 
lion  has  escaped.  The  infantes  run  away  to  seek  protection.  The 
Cid,  learning  of  their  cowardice  from  his  servant  Toston,  gives 
them  a severe  speech  on  their  having  been  cowardly  even  with  their 
swords.  Fernando  and  Diego  decide  definitely  to  take  vengeance, 
but  they  wish  to  hide  their  purpose  from  the  king.  The  latter 
rebukes  them  also  for  their  unknightly  conduct.  Therefore  Diego 
is  also  won  over  to  vengeance. 

ACT  III  — The  infantes  have  already  accomplished  their 
infamous  deed.  Albar  Fanez  brings  the  message  to  the  king.  The 
infantes  are  to  be  severely  punished.  Then  enter  the  Cid  and 
Jimena  with  their  weeping  daughters.  They  demand  vengeance  for 
the  offenses  committed  against  them,  since  it  was  the  king  who 


56 


ordered  the  marriages.  Jimena  tells  of  the  insult  to  her 
daughters,  who  had  been  beaten  and  left  alone  in  the  woods  where 
Albar  Fanez  found  them.  A combat  between  the  Cid  and  the  infantes 
is  agreed  upon.  The  king  and  Albar  F^nez  are  to  officiate  as 
judges.  Elvira  and  Sol  rejoice  that  they  are  to  be  avenged.  The 
infantes  receive  a letter  from  the  king  ordering  them  to  come  to 
court  and  take  part  in  the  combat.  Just  before  the  struggle 
begins  the  Cid  demands  that  his  swords  be  returned.  Two  of  the 
king's  servants  present  the  infantes  with  other  swords.  First, 
Diego  is  overcome,  then  Fernando.  When  they  both  declared  them- 
selves overcome,  the  Cid  grants  them  their  lives.  The  king  openly 
declares  the  infantes  traitors,  while  the  Cid  informs  Jimena  of  the 
happy  outcome. 

This  is  the  first  drama  written  on  this  portion  of  the 
Cid's  life,  namely,  the  marriages  of  his  daughters.  Polo  has 
followed  rather  closely  the  story  as  told  in  the  Romancero.  There 
are,  however,  some  differences.  In  the  Romancero,  the  Infante 
Fernando  does  not  bear  a grudge  against  the  Cid  before  the  incident 
of  the  lion's  frightening  the  two  brothers,  whereas  Polo  makes 
Fernando  wish  to  avenge  himself  for  the  Cid’s  rebuking  him  some 
time  before  when  he  fled  in  battle,  which  rebuke  and  flight  are 
both  inventions  of  Polo.  This,  according  to  Polo,  is  the  main 
reason  that  the  infantes  wished  to  marry  the  daughters,  whereas 
the  Romancero  represents  the  infantes  as  wishing  to  marry  the 

daughters  on  account  of  the  fame  and  wealth  of  the  Cid,  their 
father . 


• • 


57 

The  Romancero  does  not  mention  the  Cid's  warning  dream 
nor  any  of  the  scene  where  he  relates  this  dream  to  his  wife  and 
daughters.  The  Romancero  does  mention  a vision  of  Saint  Lazarus, 
hut  not  in  connection  with  the  Cid's  daughters.  This  scene  of  the 
relating  of  the  dreams  is  Polo's  own  idea.  Likewise,  Jimena's 
hiding  herself  in  order  to  hear  the  message  of  the  king' s messenger 
and  her  violent  opposition  to  the  marriage  of  her  daughters  are 
found  only  in  Polo's  play.  In  the  Romancero,  Jimena  says  she  is 
not  in  favor  of  the  marriages,  but  she  is  willing  to  abide  by  the 
wishes  of  the  king  and  her  husband. 

The  Romancero  does  not  give  a vivid  description  of 
the  wedding  feast  as  Polo  does. 

Polo  represents  the  Cid  as  learning  through  his  servant 
about  the  infantes'  cowardly  flight  from  the  lion.  This  servant 
does  not  appear  in  the  Romancero,  and  the  Cid  himself  tames  the 
lion  and  learns  of  the  infantes'  conduct  from  Bermudo  who  was 
present  when  the  lion  entered. 

Polo  does  not  put  on  the  stage  the  brutal  conduct  of 
the  infantes  toward  the  daughters,  to  which  the  Romancero  devotes 
so  much  space.  He  has  it  merely  reported  by  Alvar  Fanez  and 
Jimena.  He  represents  the  Cid,  Jimena,  and  their  daughters  as 
presenting  themselves  all  before  the  king  to  ask  for  vengeance, 
whereas  the  Romancero  has  the  Cid  go  alone. 

Polo  has  the  Cid  himself  fight  and  overcome  the  infantes, 
whereas  in  the  Romancero  the  Cid  appoints  as  his  champions  two 
knights,  who  overcome  the  infantes. 


58 


So  far  as  we  know  this  play  is  the  only  literary  work 
by  Francisco  Polo.  Ticknor  says  of  this  work:  "Another  play  on 

the  subject  of  the  Cid,  partly  imitated  from  this  one  of  Diamante, 
(Ho nr ado r de  su  padr e ) and  with  a similar  title  — 'Honrador  de 
sus  Hijas',  — is  found  in  the  Cbmedias  Escogidas,  Tom.  XXIII, 
1662.  Its  author  is  Francisco  Polo  of  whom  I know  only  that  he 
wrote  this  drama,  whose  merit  is  very  small,  and  whose  subject  is 
the  marriage  of  the  daughters  of  the  Cid  with  the  Counts  of 
Carrion,  and  their  subsequent  ill  treatment  by  their  husbands, 
etc."47 

L.  MO  ESTA  EM  MATAR  EL  VEHCER,  POR  JUAM  DE  MATOS  FR  AGO  SO  4 - 

In  this  play,  Fragoso  gives  us  his  second  drama  on  the 

49 

subject  matter  of  the  Cid.  The  play  appeared  in  1668  ’ and  is 
based  on  the  r etc  de  Zamora . 

ACTS  I AND  II  — Don  Diego,  one  of  King  Sancho’s 
nobles,  loves  Beatriz,  the  daughter  of  Arias  Gonzalo.  He  has  a 
meeting  with  her  on  an  island  of  the  Duero  and  from  there  takes 
her  to  Sancho’s  camp.  Don  Diego’s  servant,  Passamano,  who 
supplies  the  gracioso  element  in  the  play  is  in  love  with 
Beatriz' s servant,  Costan^a.  When  Sancho  sees  Beatriz,  he  falls 
in  love  with  her.  She  does  not  know  the  king;  neither  does  she 
tell  him  who  she  is  or  how  she  got  into  the  camp.  Diego  is  hidden 
and  hears  the  whole  conversation.  The  Cid  enters  and  tells  the 
king  that  she  is  Arias  Gonzalo1 s daughter.  Diego  comes  out  at 


59 


once  and  tells  them  that  she  is  to  be  his  wife.  The  king  will  not 
hear  to  it  and  warns  her  that  if  she  gives  her  hand  to  Diego,  his 
life  will  be  in  danger.  Beatriz  wavers  for  a long  time  and  then 
refuses  Diego  her  hand  in  order  not  to  put  his  life  in  danger. 

Diego  falls  ill  over  it  and  believing  her  fickle,  refuses  to  hear 
further  news  of  her.  They  meet  and  quarrel  violently.  Diego 
charges  her  with  infidelity.  She  explains  to  him  that  she  had  to 
treat  him  that  way  to  save  his  life.  The  king  comes  suddenly. 

Diego  hides,  but  the  king  has  seen  some  one  flee.  The  Cid  enters 
but  when  he  sees  Sancho  alone  with  Beatriz,  he  does  not  wish  to 
interrupt  and  conceals  himself  in  the  same  place  that  Diego  has 
chosen.  Beatriz,  in  the  meantime  has  tried  to  keep  the  king  from 
seeking  Diego,  but  Sancho  is  determined  to  know  who  it  was  that 
fled  from  him.  He  finds  the  Cid  and  pulls  him  out  by  the  arm, 
but  does  not  discover  Diego.  The  soene  is  then  interrupted  by 
Bellido  Dolfos,  who  comes  to  see  the  king. 

ACT  III  — Passaraano  dresses  like  a woman.  Diego  and 
Beatriz  are  fleeing  from  the  king.  Diego  hides  himself  again;  the 
king  resumes  his  love  making  until  the  Cid  comes.  Beatriz,  fearing 
his  arrival  since  she  is  alone  again  with  the  king,  extinguishes 
the  light.  The  Cid  wishes  to  know  what  is  happening  in  the 
darkness.  Diego  comes  to  seek  Beatriz.  She  surmises  that  her 
lover  has  come  to  carry  her  off.  She  orders  Costanga  to  pass 
herself  off  as  her  mistress  with  the  king  and  she  will  leave  with 
Diego.  In  the  darkness,  she  mistakes  the  Cid  for  Diego  and  goes 
with  him  to  his  quarters.  Diego  thinks  his  servant  Passamano  is 


60 


Beatriz  while  Passamano  takes  Diego  for  the  CicL.  Diego  flees  with 
his  servant . The  king  remains  with  Costan£a,  whom  he  thinks  to  be 
Beatriz.  The  servant  lights  the  light  and  the  king  sees  his  mis- 
take. He  is  led  by  Bellido  to  the  wall  of  Zamora.  In  order  to 
explain  to  the  audience  this  mix  up,  Costanpa  gives  a long  declama- 
tory speech.  Diego  is  now  in  search  of  Beatriz  and  cannot  find  her. 
Meanwhile  he  challenges  the  Zamorans  and  kills  the  sons  of  Arias, 
the  brothers  of  his  beloved.  While  they  are  holding  council  over 
the  doubtful  victory,  Beatriz  comes  dressed  as  a man,  offers  her- 
self as  a Zarnoran  and  prepares  to  fight  with  Diego.  The  lovers 
cannot  fight  each  other  so  the  author  must  seek  some  solution. 
Beatriz  has  taken  the  Cid' s arms.  The  latter  wishes  to  know  who 
the  knight  is;  without  much  persuasion,  Beatriz  reveals  herself  and 
declares  that  she  will  not  marry  Diego  since  he  has  pronounced  her 
brothers  traitors.  The  good  Diego  cannot  rest  until  he  has 
explained  that  he  had  to  free  Zamora  from  the  shame  of  the  king's 
murder.  Beatriz  is  now  willing  to  marry  him.  Arias  and  the  Cid 
give  their  consent.  Passamano  weds  Co  stanza  and  the  play  ends 
happily  with  the  double  wedding. 

Fragoso  has  used  the  story  of  the  siege  of  Zamora  as  it 
appears  in  the  Romancero  and  in  the  previous  plays  by  Juan  de  la 
Cueva  and  Castro,  but  he  has  used  this  story  merely  as  the  back- 
ground for  the  love  affair  between  Don  Diego  and  Beatriz,  daughter 
of  Arias  Gonzalo • This  love  affair  is  not  mentioned  in  any  of  the 
previous  plays  or  in  the  Romancero,  but  it  is  a product  of  Fragoso' s 
own  invention.  There  is  absolutely  no  mention  of  Arias'  having  a 


61 


daughter  except  in  this  play. 

The  only  points  in  common  between  this  play  and  our  two 
former  play 3 on  this  subject  and  the  Romancero  are:  the  action 

taking  place  near  and  in  Zamora,  the  killing  of  Sanoho  by  Bellido, 
the  challenging  of  Zamora  by  Don  Diego,  and  the  killing  of  the  sons 
of  Arias  Gonzalo . 


/ / 50 

M.  LAS  MOCEDADES  DEL  CID,P0R  GERONIMO  DE  CANCER  Y VELASCO 

The  second  burlesque  on  the  Cid  was  written  by  Cancer  y 

51 

Velasco  and  appeared  in  1673. 

The  Count  Lozano  wishes  to  marry  his  daughter  Jiraena  to 
Don  Sancho,  but  she  is  in  love  with  Rodrigo.  While  she  is  writing 
a letter  to  her  lover,  her  father  comes  with  Don  Sancho  and  reads 
the  letter.  For  this  reason  she  is  to  die.  He  accuses  Rodrigo 
before  the  king  of  having  inspired  his  daughter's  love.  Jimena 
receives  poison  from  him,  but  she  does  net  die.  Then  the  count 
tries  to  draw  his  dagger  and  wounds  himself  in  doing  so.  Meanwhile 
Diego  Lainez  comes.  Lozano  tells  him  that  he  wishes  to  marry  his 
daughter  himself.  Thereupon  they  begin  to  quarrel  and  the  count 
gives  Diego  a box  on  the  ear.  Diego  asks  his  son  whom  he  shall 
consult  concerning  question  of  honor.  The  Cid  suggests  the  father 
confessor . Diego  agrees  with  him  but  considers  it  best  to  kill  the 
count  immediately.  Rodrigo  challenges  the  count,  kills  him  and 
surrenders  himself  to  the  king.  Then  he  goes  to  fight  against  the 


62 


Moors.  When  he  comes  to  Valencia  the  city  is  surrendered  to  him 
without  any  more  ado.  Jimena  comes  at  mealtime  to  the  court  and 
demands  vengeance  for  her  father's  death.  Then  the  Cid  appears  as 
conqueror  of  Valencia.  After  he  relates  his  brave  deeds,  he  asks 
for  Jimena  as  his  wife,  and  she  willingly  consents. 

The  story  is  treated  in  comical  fashion.  For  example, 
a Moor  brings  the  king  rich  presents:  eighty  horses  (the  king  asks 
why  not  a hundred),  camels,  elephants,  tigers,  even  six  quinces, 
all  this  to  obtain  the  Cid's  head.  When  the  king  is  angered  at 
this,  the  Moor  wishes  to  become  Christian;  the  king  refuses 
because  he  is  too  young. 

When  Roarigo  is  requested  by  his  father  to  kill  the 
count,  he  demands  two  hundred  escudos,  but  Diego  will  only  pay  him 
one  hundred.  Rodrigo  wants  the  money  for  Jimena,  whom  he  will  have 
to  support  after  the  death  of  her  father. 

When  the  Cid  is  at  Valencia,  he  does  not  know  whether 
this  is  the  city  or  not  and  he  has  to  call  a Moor  and  ask  him  about 
it.  He  promises  the  Moors  to  bring  it  to  pass  that  they  shall  not 
go  to  hell  but  to  purgatory . 

Cancer  y Velasco  has  chosen  for  the  subject  of  his  bur- 
lesque, the  youth  of  Cid,  and  is  evidently  parodying  Castro's  ana 
Diamante's  plays  on  this  subject. 

From  beginning  to  end  he  has  twisted  and  changed  all  the 
facts  of  the  story  as  found  in  the  Romancero  and  in  the  two  previous 
plays  on  the  subject.  He  has  Count  Lozano  first  wishing  Jimena  to 
marry  Don  Sancho,  trying  to  kill  her  because  she  loves  Rodrigo,  and 


63 


then  wishing  to  marry  her  himself.  In  this  play  Lozano’s  insult 
to  Diego  Lafnez  is  due  to  the  quarrel  between  the  two  over  Lozano's 
wishing  to  marry  his  own  daughter;  no  mention  is  made  of  the 
appointment  of  a preceptor  for  the  prince  by  King  Fernando  as 
there  was  in  the  two  previous  accounts. 

After  Rodrigo  has  killed  the  count,  he  goes  to  capture 
Valencia.  In  the  Romancero,  this  capture  of  Valencia  does  not 
occur  till  later  on  in  the  Cid's  life  after  he  has  married  Jimena 
and  is  banished  by  Alfonso.  It  is  not  mentioned  at  all  in  the  two 
previous  plays  dealing  with  this  part  of  the  Cid's  life.  Cancer 
represents  Jimena  as  perfectly  willing  to  marry  Rodrigo  after  he 
has  come  back  boasting  about  his  capture  of  Valencia  and  asks  her 
to  marry  him.  The  Romancero  and  Castro's  and  Diamante's  plays  all 
have  different  endings  from  this  and  from  each  other,  as  has 
already  been  mentioned  in  the  analysis  of  Diamante's  play. 

The  whole  atmosphere  of  Cancer's  play  is  different  from 
that  of  the  previous  plays,  of  course,  since  they  were  serious 
and  this  is  a burlesque. 

In  the  edition  by  Luis  Fernandez-Guerra  y Orbe  of  Moreto 
y Cabana's  works,  the  former  expresses  some  doubt  as  to  whether 
Moreto  or  Cancer  is  the  author  of  this  play,5S  but  there  seems  to 
be  no  serious  ground  for  doubting  that  Cancer  was  the  author. 

Fern«£ndez-Guerra  y Orbe  says  of  this  play: 

"Los  amores  de  Rodrigo  y Jimena,  la  bofetada  que  recibe 
Diego  Lalnez  ael  Conde  Lozano,  la  sangrienta  venganza  del  Cid  y 
su  boda  con  la  hija  de  aquel  magnate,  son  los  sucesos  que  presenta 
en  burla8  el  poeta,  r idiculizando  grac iosamente  los  desCvarios  que 


64 


entonces  desCdustraban  el  teatro . Ni  se  perdona  a si  propio, 

dando  por  ello  a conocer  (como  otros  dramaticos  de  aquel  siglo) 

que  erraba  con  conoGcimiehto  de  causa.  Los  chistes,  de  buena  ley; 

53 

la  satira,  muy  aprsciable.n 


54 

N.  EL  CERCO  DE  ZAMORA,  POR  JUAN  BAUTISTA  DIAMANTE 

55 

Diamante  published  his  second  drama  on  the  Cid  in  1674. 

ACT  I — Leonor,  the  daughter  of  Arias  Gonzalo,  a 
& amor an,  is  in  love  with  Diego  0rd6nez . She  has  not  seen  or  heard 
of  him  in  four  months.  On  the  night  on  which  the  play  opens,  her 
servant  Beatriz  announces  that  a knight  has  come  from  Xing  Sancho . 

It  is  Diego.  He  tells  of  the  campaigns  of  King  Sancho  against  his 
brother  Alfonso  and  his  sister  Elvira,  which  clearly  account  for 
Diego's  absence.  Sancho  will  attack  Zamora  if  Urraca  does  not 
give  the  city  over  to  him.  He,  Diego,  was  sent  as  ambassador  to 
Zamora.  Leonor  hopes  for  a friendly  settlement  of  the  dispute. 

In  case  things  go  wrong,  she  will  flee  with  Diego.  Arias  and  his 
sons  have  the  defense  of  the  city  prepared.  The  infanta  Urraca 
awaits  Sancho' s messenger.  Diego  gives  her  the  king's  offer  to 
give  her  any  city  she  chooses  in  exchange  for  Zamora.  In  her  resis- 
tance he  sees  only  the  result  of  Arias  Gonzalo 's  influence.  Arias 
recalls  his  promise  given  to  the  late  Xing  Fernando,  to  take  care 
of  Urraca.  The  infanta  condemns  Sancho  for  marching  against  his 
brother  and  sister  and  is  not  afraid  of  his  threats. 


65 

Sancho  waits  meanwhile  impatiently  for  Diego’s  return. 

The  Cid  advises  against  the  siege  on  account  of  the  protected 
position  of  Zamora  ana  the  bravery  of  Arias  and  his  sons.  Diego 
comes  with  Urraca's  answer.  The  king  is  angry  and  denounces  Arias 
as  a traitor.  Announcement  is  made  of  the  arrival  of  Bellido,  who 
is  fleeing  from  Arias  and  offers  his  services  to  Sancho . The  king 
accepts  him  joyfully  and  does  not  heed  the  warning  of  the  Cid  and 
Arias . 

ACT  II  — Bellido  has  already  accomplished  his  treacher- 
ous deed.  He  flees  from  the  Cid,  who  suspects  something  wrong  and 
enters  the  city.  The  wounded  king  dies  in  Diego's  arms  after  having 
repented  for  his  disobedience  to  his  father.  The  Cid  finds  the 
king  already  dead  and  summons  the  soldiers  for  revenge.  All  are 
silent.  Then  Diego  speaks  and  offers  to  challenge  Zamora.  It  is 
clear  to  him  that  he  must  lose  Leonor's  hana  thereby.  A messenger 
brings  the  message  that  Leonor  is  waiting  for  him  that  night.  In 
the  city  great  indignation  reigns  over  the  accusation  of  their 
share  in  the  king's  murder.  The  murderer  is  sought.  Arias  gives 
the  command  that  the  Castilians  be  permitted  to  come  to  Zamora  to 
witness  the  grief  over  Sancho 1 s death.  So  Diego  can  without  any 
difficulty  go  to  Leonor,  who  does  not  yet  know  of  Diego's  plan. 

She  wishes  to  see  him  30  that  an  eventual  combat  may  be  prevented. 
Diego  tells  her  that  he  has  proposed  to  the  Castilians  to  avenge 
Sancho ' 8 death.  Leonor  considers  it  Diego's  duty  to  keep  his 
promise,  but  at  the  same  time  she  reproaches  him  for  his  ingratitude. 
The  lovers  bid  each  other  farewell  forever.  The  entire  scene  is 


' 


. 

. 

' 


66 


played  in  darkness.  Arias  and  his  son  Pedro  return  home,  Leonor 
escapes  in  time  but  Diego  cannot  find  the  door.  Arias  and  his  sen 
have  heard  a noise;  they  search  with  drawn  swords  for  the  cause, 
and  have  a light  brought  at  once.  In  the  meantime  Diego  finds  the 
door  and  escapes  without  being  discovered.  Soon  he  appears  before 
Zamora  and  challenges  the  citizens  to  single  combat,  in  which  he 
is  to  overcome  five  men  one  after  another.  Arias  and  his  sons 
accept  the  challenge. 

ACT  III  — Three  sons  of  Arias  have  been  killed  in  the 
combat.  It  is  now  Pedro's  turn.  He  is  wounded.  Diego  also  falls 
from  his  horse  outside  the  bounds.  He  blames  his  horse.  The  Cid 
pronounces  Diego  overcome  and  Zamora  free.  He  proclaims  Alfonso 
king,  when  the  latter  shall  have  sworn  that  he  had  no  share  in  his 
brother's  murder.  The  Cid  himself  will  also  take  the  oath.  Diego 
has  not  been  able  to  forget  Leonor,  and, in  order  to  see  her,  he 
goes  to  see  the  injured  Pedro  Arias.  He  meets  Leonor  who  does  not 
wish  to  speak  to  him,  but  gives  Beatriz  the  order  to  take  him  to 
Pedro.  He  begs  Leonor  to  listen  to  him.  She  asks  him  to  leave  but 
listens,  never theless,  to  the  long  speech  in  which  he  explains  that 
Fate,  not  he,  is  to  blame  for  her  brother's  death.  Leonor,  who 
still  loves  him,  secretly  admits  that  he  has  done  his  duty.  In 
order  to  end  the  conversation,  she  explains  that  she  will  give  her 
hand  only  to  the  man  whom  her  father  selects.  Diego  puts  his  last 
hope  on  a conversation  with  Pedro  Arias. 

In  the  meanwhile.  King  Alfonso  comes  from  Toledo  and  is 
asked  by  the  Cid  to  take  the  oath.  The  king  is  angry,  but  will  not 


67 


oppose  him  and  so  takes  the  oath.  He  then  permits  all  the  knights 
except  the  Cid  to  kiss  his  hand.  At  the  end  Pedro  and  Diego,  who 
have  become  the  best  of  friends,  enter.  For  their  brave  deeds  the 
king  wishes  to  grant  them  a favor.  Pea.ro  asks  the  king  to  marry 
his  sister  to  Diego.  Arias  consents  out  of  obedience  to  the  king 
and  everything  ends  well. 

Diamante's  play  includes  all  of  the  facts  of  Cueva’s  play 
on  this  subject  ana  a great  many  more  besides.  For  these  additional 
facts  he  may  have  used  both  Castro’s  and  Fragoso’s  productions  on 
this  subject.  He  omits,  however,  the  first  scene  of  Castro's  play 
concerning  Sancho's  defeat  of  his  brother  Alfonso.  The  Cid  does  not 
play  so  important  a role  in  this  play  as  in  Castro’s.  The  murder  of 
Sancho  is  not  shown  on  the  stage  by  Diamante,  though  it  is  by 
Castro.  Diamante  omits  the  whole  story  of  Alfonso's  love  affair 
with  Zoraida  which  Castro  gives,  but  he  follows  Castro  as  to  the 
challenge  of  Zamora  and  the  oath  of  Alfonso . 

From  Fragoso's  N£  esta  en  matar  el  veneer.  Diamante  has 
taken  the  love  affair  of  Arias  Gonzalo's  daughter  and  Diego. 

Diamante  changes  the  name  of  Fragoso's  heroine,  Beatriz,  to  Leonor, 
but  calls  her  servant  Beatriz.  He  does  not  have  her  go  to  Sancho's 
camp,  but  has  her  remain  in  Zamora  throughout  the  play.  Diego  is 
sent  to  Zamora  as  ambassador  from  Sancho  to  Urraca.  In  the  Romancero 
and  the  previous  plays  it  is  the  Cid  who  is  sent  to  Urraca,  but  in 
order  to  bring  Leonor  and  Diego  together.  Diamante  has  Diego  sent. 

Fragoso  entangles  his  plot  by  having  King  Sancho  fall  in 
love  with  Arias'  daughter  as  well  as  by  the  challenge  of  Zamora  by 


68 


Diego,  while  Diamante  uses  only  the  fact  of  Diego’s  challenge. 

In  order  to  use  a dark  scene  to  offset  Fragcso's  scene 
(where  Eeatriz  extinguishes  the  light  when  the  Cid  comes  during 
her  interview  with  Sancho  and  the  general  mix-up  ensues) , Diamante 
put 8 in  the  scene  where  Diego  and  Leonor  bid  each  other  farewell, 
when  he  tells  her  it  is  his  duty  to  challenge  Zamora.  The  whole 
scene  is  in  darkness  and  Arias  and  his  son  Pedro  return  home,  and 
Diego  has  difficulty  in  making  his  escape  without  being  discovered. 

In  both  plays,  the  girl  refuses  to  marry  Diego  because 
he  has  killed  her  brothers,  though  Fragoso  brings  in  the  fact  that 
she  is  mainly  vexed  because  he  called  her  brothers  traitors.  The 
ending  of  both  plays  is  rather  weak,  but  Diamante’s  is,  I believe, 
even  more  so  than  Fragoso’ s.  Fragoso  has  Beatriz  arm  herself  to 
fight  against  Diego  and  then,  after  Diego  has  explained  that  it  was 
only  to  clear  Zamora  that  he  fought  her  brothers,  she  consents  to 
marry  him.  Diamante  represents  Diego  as  making  friends  with  Pedro 
(Arias'  son,  who  is  killed  in  the  Romancero  and  all  the  other  plays, 
but  in  this  play  is  only  wounded) . Pedro  and  Diego  are  granted  any 
favor  they  may  wish  to  ask  of  the  king  and  they  ask  for  the  marriage 
of  Leonor  and  Diego.  It  is  highly  improbable  that  Pedro  would 
become  so  friendly  with  a man  who  had  killed  his  two  brothers, 
that  he  would  want  his  sister  to  marry  this  man. 

Diamante  does  not  mention  the  Cid's  banishment  by  Alfonso, 
in  order  not  to  mar  the  happy  ending  of  his  play. 

The  comic  element  of  the  play  is  supplied  by  Diego's 
servant,  Lain. 


69 

56 

0.  LA  JURA  EN  SANTA  GADEA,  POR  JUAN  EUGENIO  HARTZENBUSCH 
57 

In  1845,  appeared  Har tzenbusch' s play  on  the  Cid. 

ACT  I — Alberta  (widow  of  the  late  King  Sancho)  and 
the  Cid  are  in  a little  chapel  near  Burgos.  Alberta  offers  the 
Cid  her  friendship,  since  he  has  done  so  much  to  avenge  her  hus- 
band's death.  The  Cid  tells  her  that  Alfonso,  before  he  may  become 
king  of  Sancho' s possessions,  must  take  an  oath  there  at  Burgos 
that  he  had  nothing  to  do  with  his  brother's  death.  The  queen 
tells  the  Cid  that  he  should  marry  and  offers  to  select  a lady 
for  him,  but  he  refuses,  telling  how  for  seven  years  he  has  loved 
a girl  whose  name  he  does  not  know  and  whom  he  rescued  from  a 
brigand  on  her  way  to  the  chapel  near  Burgos.  They  both  have 
left  a little  heart  as  a pledge  of  their  faith  and  the  one  who 

breaks  the  faith  is  to  remove  his  or  her  heart. 

Alvar  Fanez,  the  Cid's  cousin,  brings  the  news  that 
Alfonso  has  marched  towards  Galicia,  the  realm  of  his  brother 
Garcia,  who  is  reported  to  have  lost  his  mind.  Alvar  says  that 
Alfonso  has  suggested  that  the  Cid  should  marry  Alberta.  The  Cid 
does  not  know  what  to  say  when  he  sees  that  Alberta,  who  is  intend- 
ing to  retire  into  a convent,  would  be  glad  of  the  marriage. 

After  the  queen  and  Alvar  have  gone,  the  Cid  sees  two 

ladies  approach  the  temple.  One  of  them  goes  to  the  little  heart 

that  Rodrigo  had  put  there.  He  recognizes  his  beloved;  they  embrace, 
and  he  learn3  that  she  is  Alfonso's  cousin,  Jimena.  She  tells  him 
that  the  king  has  come  and  refuses  to  take  the  oath  and  begs  him  not 


70 

to  incur  the  king's  disfavor.  He  leaves  ana  she  retires  into 
the  chapel.  The  king  learns  from  her  companion,  Nun*.,  of 
the  love  affair. 

Gonzalo,  the  king's  adviser,  tells  him  to  march  to  the 
city  and  demand  entrance.  He  reminds  the  king  of  the  latter's 
promise  to  give  him  his  cousin  Jimena  in  marriage. 

When  the  Cid  tells  the  king  that  he  shall  not  enter  the 
city  until  he  has  taken  the  oath,  Alfonso  says  he  will  take  it 
and  announces  also  that  Jimena  will  marry  Gonzalo. 

ACT  II  — Albar  Fdnez  promises  Jimena  to  aid  her  all 
he  can  not  to  marry  Gonzalo. 

Alfonso  promises  Jimena  that  she  may  marry  the  Cid  on 
condition  that  she  make  him  a faithful  subject.  Jimena  tells  the 
Cid  and  they  are  overjoyed,  but  when  the  king  tells  the  Cid  that 
he  expects  to  be  released  from  the  oath,  the  Cid  refuses.  Jimena 
is  heart-broken.  Alberta  proposes  to  the  Cid  that  they  not 
require  Alfonso  to  take  the  oath  and  so  destroy  Jimena' s happiness, 
but  Rodrigo  refuses. 

Gonzalo  reports  that  he  has  killed  Vellido  and  that  the 
latter  had  made  a confession  to  him  concerning  Sancho ' s murder. 

In  a very  dramatic  scene  Gonzalo  asks  who  insists  that  Alfonso 
take  the  oath.  The  Cid  says  that  it  is  he.  Then  Gonzalo  says 
that  the  Cid  has  no  right  to  insist  on  the  king's  oath, since 
Vellido  confessed  that  he  killed  Sancho  tc  serve  the  Cid.  The 
Cid  challenges  Gonzalo  to  a duel. 

ACT  III  — The  Cid  has  gone  out  during  the  night  and  has 
not  returned.  The  time  for  the  duel  approaches.  Gonzalo  is 


71 

accusing  the  Cid  of  conspiracy  against  the  king.  He  pulls  back 
the  curtain  from  before  the  throne  and  there  they  see  the  Cid 
sleeping,  guarding  the  king's  throne,  which  he  has  overturned  in 
his  sleep. 

The  queen  intervenes  with  Alfonso  in  behalf  of  Jimena, 
but  he  says  that  Jimena  must  take  the  vows  to  become  a nun.  He 
promises  to  respect  the  last  act  of  the  queen's  reign  and  asks  her 
to  respect  this* which  will  be  the  first  of  his. 

Jimena  offers  to  marry  Gonzalo  if  he  will  not  fight  with 
the  Cid,  but  he  refuses.  The  queen  tells  Jimena  how  she , too,  loves 
the  Cid  but  must  hide  her  love  under  a veil  of  friendship. 

Jimena  tells  Rodrigo  that  she  is  to  become  a nun, since 
she  cannot  belong  to  him.  He  tells  her  of  his  dream:  how  he  met 

a poor  leper,  whom  he  took  upon  his  horse.  Then  the  leper's  garments 
became  shining  and  white  and  he  seemed  to  foretell  victory  for 
the  Cid  in  the  coming  struggle. 

Alfonso  and  the  queen  do  not  go  to  the  duel,  but  they 
learn  what  is  happening  by  watching  Jimena,  who  is  watching  from  a 
balcony.  She  sees  that  Gonzalo  has  triumphed  over  his  adversary. 

Overcome,  she  leaves  to  go  to  the  convent.  Alvar  Fanez,  wounded, 
enters  and  they  find  that  it  was  he  who,  wearing  the  Cid's  arms, 

had  been  overcome  by  Gonzalo.  The  Cid,  furious,  haa  rushed  up  and 
was  now  fighting.  It  is  announced  that  the  Cid  has  overcome  seven 
Leone se  knights,  Gonzalo  among  them.  The  Cid  enters  and  tells  that 
Gonzalo  has  confessed  that  Vellido  told  him  that  it  was  for  Urraca, 
Alfonso's  sister,  that  he  killed  Sancho.  Alfonso  announces  that 
he  will  take  the  oath.  The  Cid  forces  him  to  swear  three  times 


73 


that  he  had  nothing  to  do  with  his  brother’s  death.  The  king  is 
so  incensed  that  he  banishes  the  Cid.  The  latter  plans  to  go  with 
some  followers  and  conquer  for  himself  a country  where  he  can  be 
free.  The  queen  brings  Jimena,  whom  she  has  stopped  just  in  time 
from  taking  the  vows,  and  as  the  last  act  of  her  reign, which  the 
king  had  promised  her  to  respect,  she  orders  the  marriage  of  Jimena 
and  the  Cid,  but  the  Cid  refuses.  He  wishes  to  fight  for  Alfonso 
and  win  from  him  willingly  the  hand  of  Jimena.  The  queen  gives 
them  her  blessing  and  leaves  for  a convent. 

The  mere  incident  of  the  oath  in  Santa  Gadea,  which  was 
merely  touched  upon  in  the  plays  on  the  siege  of  Zamora  by  Castro 
and  Diamante,  Hartzenbusch  uses  mainly  for  the  basis  of  his  whole 
play.  The  oath  and  subsequent  banishment  of  the  Cid  and  the  vision 
of  the  leper  are  the  only  points  in  the  whole  play  that  we  have 
met  before  in  the  Romancero  and  in  the  previous  plays. 

Jimena  is  brought  in  under  entirely  different  circum- 
stances from  what  we  have  had  before,  and  at  a much  later  period 
of  the  Cid’s  life.  In  fact,  what  we  have  is  an  entirely  different 
character  with  the  same  name.  No  mention  is  made  of  Count  Lozano, 
her  father,  nor  does  Rodrigo's  father  appear. 

Hartzenbusch ' s treatment  of  the  vision  of  the  leper  is  the 
third  one  we  have  met,  all  of  them  different  from  each  other  and 
from  the  one  in  the  Romancero  in  regard  to  their  chronological 
position.  The  one  in  the  Romancero  occurred  after  the  Cid's 
marriage  to  Jimena,  when  he  was  on  his  way  to  Santiago  to  fight 
Martin  Gonzalez.  The  leper  scene  in  Castro's  play  occurred  before 


?3 


his  marriage  with  Jiraena,  when  the  Cid  was  on  his  way  to  fight 
the  Moors.  In  his  Honr ador  de  sus  hijas,  Polo  has  the  Cid  have 
a vision  of  St.  Lazarus,  the  night  before  the  king  sent  to  ask  for 
the  Cid's  daughters  in  marriage  for  the  Counts  of  Carrion. 
Hartzenbusch  places  this  vision  in  a dream  that  the  Cid  had  while 
sleeping  in  the  cathedral  and  guarding  the  king's  throne,  just 
before  his  duel  with  Gonzalo.  The  prophecy  of  the  four  versions 
of  this  vision  was  the  same,  namely  victory  and  success  for  the 
Cid  in  his  undertakings. 

Nowhere  before  have  we  had  the  mention  of  Sancho's  wife, 
Alberta, as  she  appears  in  this  play.  In  fact,  Hartzenbusch  has 
merely  taken  a suggestion  or  two  from  the  Romancero  and  on  these 
he  has  built  ur  a play  of  his  own  creation. 

His  characters  are  better  drawn  than  any  we  have  had  so 
far.  Alberta,  Sancho's  widow,  is  especially  well  portrayed.  The 
play  as  a whole  is,  with  the  possible  exception  of  Castro's, is 
the  most  interesting  one  on  our  subject  that  we  have  met. 

P.  LAS  HIJAS  DEL  CID,  POR  EDUARDO  MARQUINA 

The  latest  drama  dealing  with  the  subject  matter  of  the 

59 

Cid  is  Marquina's  which  appeared  in  1908. 

ACT  I --  The  Cid  is  living  in  exile  in  Valencia  where  he 
has  established  a stronghold  for  himself.  He  has  two  daughters 
Elvira  and  Sol.  Dona  Sol  is  very  fond  of  her  cousin  Tellez  Munoz. 
The  temperaments  of  the  two  girls  are  disclosed  in  the  first  scene 


■ 


74 


where  J imena  is  telling  stories  to  her  daughters.  Doha  Sol's 
favorite  is  the  one  of  the  girl  who  was  found  dead  when  her  father 
had  conquered  enough  kingdom  to  make  her  a queen  and  came  to  put 
the  ermine  mantle  on  her  shoulders.  Elvira's  favorite  is  the  story 
of  the  girl  who  with  her  brother's  bloody  sword  avenged  her  father. 
The  Infantes  of  Carrion,  god-children  of  Alfonso  of  Castile,  have 
come  to  ask  for  the  hands  of  the  Cia's  daughters.  This  is  very 
gratifying  to  the  Cid's  ambition  to  unite  his  daughters  with 
royalty . 

In  the  weekly  audience  that  the  Cid  gives  his  people,  an 
Almoravide,  angered,  curses  the  Cid's  daughters.  The  Cid  appoints 
Jeronimo  bishop  and  orders  mass  to  be  held  in  the  mosque.  We 
learn  in  this  same  scene  that  the  Emir  Ben  Gehaf,  supposedly  dead, 
is  stirring  up  rebellion  against  the  Cid. 

Tellez  Munoz  knows  that  the  Infantes  of  Carri6n  are 
cowardly . He  demurs  to  the  Cid  against  them.  The  Cid,  angered, 
makes  Tellez  captain  of  Elvira  and  Sol,  and  orders  him  to  defend 
with  his  life  the  arms  of  the  men  he  has  insulted. 

ACT  II  — The  people  are  all  waiting  for  the  first  mass 
which  will  make  Valencia  Catholic.  Two  nobles  are  discussing  the 
fact  that  the  infantes  have  been  seen  conspiring  with  Gehaf  and 
his  favorite  beauty,  Sobeya. 

Dona  Sol  dispenses  bread  and  clothing  and  jewels  to  the 
poor.  They  throng  about  her  and  kiss  the  hem  of  her  robe.  After 
the  people  have  left,  Tellez  Munoz  talks  with  Dona  Sol,  whom  he 
loves  and  who  loves  him.  He  tells  her  that  although  he  wishes  to 


75 


die  in  battle,  yet  he  must  live  guarding  the  Infantes  of  Carrion. 

ACT  III  — After  the  marriages  of  Elvira  and  Sol  with  the 
infantes,  Fernando  even  allows  the  Moor,  Sob eya, entrance  to  the 
Cid's  palace,  and  together  they  plan  for  the  infantes  to  go  to 
her  dwelling  that  night. 

Sobeya  and  Gehaf  meanwhile  plan  to  kill  the  infantes  when 
they  come  that  night.  The  infantes  fall  easily  into  the  trap.  They 
disarm  themselves  and  are  totally  at  the  mercy  of  the  Moor  Gehaf, 
who  is  about  to  strangle  them,  -when  Tellez  Munoz  enters  and  kills 
Gehaf.  He  then  forces  Diego  to  dip  his  sword  in  the  blood  so 
that  Diego  may  say  he  killed  the  Moor  and  gives  Fernando  a standard 
that  he  may  say  he  took  from  the  Moors;  then  no  one  will  know  their 
treachery  and  cowardice. 

ACT  IV  --  The  infantes  have  decided  to  take  their  wives 
and  leave  Valencia.  Elvira  and  Sol  are  escorted  into  the  forest 
and  a shelter  is  prepared  for  them.  There  left  alone,  while  their 
husbands  have  gone  to  take  leave  of  their  followers.  Dona  Elvira 
bravely  mothers  Dona  Sol.  They  pity  each  other  in  their  misery, 
married  to  such  creatures.  Elvira  threatens  vengeance  for  her  hus- 
band's infidelity.  An  old  shepherd  comes  up  and  offers  to  stay  and 
guard  them,  but  they  refuse.  He  leaves  a flute  in  a hollow  tree  so 
that  they  can  call  him  if  necessary.  After  he  has  gone  they  realize 
that  the  shepherd  was  their  father  the  Cid. 

Diego  and  Fernando  return.  They  become  drunk  and  insult 
and  mistreat  the  infantas,  whom  they  have  married  merely  on  account 
of  the  wealth  and  prestige  of  the  Cici.  They  leave  the  infantas 


76 


beaten  ana  bloody.  Tellez  Munoz  comes  ana,  at  Sol's  request,  blows 
the  flute  and  the  Cid  and  his  men  come  up.  Elvira,  rather  than 
have  any  one  see  her  until  she  has  avenged  her  insult,  flees. 

ACT  V — Dona  Sol,  having  recovered,  is  recall ing, with 
her  mother,  the  various  incidents  of  her  life  in  connection  with 
Elvira,  who  has  never  returned. 

The  king  orders  that  the  infantes  be  punished  by  fighting 
in  single  combat  with  champions  chosen  by  the  Cid.  Tellez  Munoz 
reports  that  he  has  killed  Diego,  but  Gil  Bustos,  who  was  to  have 
fought  Fernando  says  that  a strange  knight  had  already  been  granted 
the  right  to  fight  for  the  Cid's  honor  before  he  got  there.  This 
unknown  knight,  though  wounded  first,  killed  Fernando. 

The  Kings  of  Navarre  and  Arago'n  come  to  ask  for  the  hands 
of  Sol  ana  Elvira.  The  Cid  is  happy  that  one  of  his  daughters  at 
least  is  to  marry  a king.  Sol, 'who  is  still  in  love  with  her  cousin, 
Tellez  Munoz,  refuses  at  first,  but,  seeing  her  father's  grief,  she 
cannot  bear  it.  Having  had  so  sad  a life,  she  consiaers  that  she 
is  made  for  suffering  and  may  as  well  give  her  father  this  happiness 
The  Cid  falls  at  her  feet  to  pay  her  homage  as  a queen. 

The  unknown  knight,  wounded,  returns.  It  is  Elvira.  She 
has  avenged  the  Cid's  honor  ana  her  own.  Her  father  tells  her  she 
is  to  wear  a crown,  but  she,  after  seating  herself  on  the  throne 
that  has  just  been  set  up,  dies  with  the  arms  of  her  mother  and 
siater  about  her. 

Instead  of  using  the  Romancero  as  an  inspiration  for  his 
play,  as  our  previous  authors  have  done,  Marquina  has  found  his  in- 


' 

. 

77 


spiration  in  the  Posma  del  Cia . The  Poema  was  unknown  auring  the 
centuries  when  most  of  the  Spanish  dramas  on  this  subject  were 
•written,  and  consequently  they  were  based  on  the  Romancero  . 
Hartzenbusch  doubtless  knew  of  the  Sanchez  edition  of  the  Poema, 
which  had  appeared  more  than  half  a century  before  he  wrote  his 
Jura  en  Santa  Gadea,  but,  as  our  analysis  showed,  his  own  play 
was  based  rather  on  the  Romancero,  and  not  on  the  Poema . 

Francisco  Polo's  play  on  the  subject  of  the  Cid's 
daughters  was  taken  from  the  Romancero  and  it  will  be  an  interesting 
study  to  compare  his  play  with  Marquina's.  Marquina  does  not 
represent  the  Cid  as  unwilling  to  give  his  daughters  to  the 
infantes,  as  does  Polo.  In  Marquina's  play  the  infantes  have 
been  at  Valencia  with  the  Cid's  men  for  a long  time  when  the 
message  is  brought  that  they  wish  to  marry  his  daughters.  The 
Cid  doe 3 not  hesitate  but  is  greatly  pleased  at  the  thought  of 
his  daughters'  marrying  princes.  Polo  does  not  emphasize  this 
ambition  of  the  Cid  to  unite  hi3  blood  with  that  of  royalty. 

Marquina  does  not  bring  in  the  scene  of  the  Cid's  dream, 
which  Polo  uses. 

Tellez  Muiioz,  in  Marquina's  play,  is  the  one  who  knows 
of  the  cowardice  of  the  infantes  and  the  Cid  becomes  very  angry 
at  Tellez,  when  he  dares  to  speak  of  it,  and  orders  him  to  become 
their  body-guard,  whereas  Polo  represents  the  Cid  himself  as 
recalling  the  cowardice  of  the  infantes. 

Polo  does  not  have  any  of  the  scene  where  the  Cid  holds 
a weekly  audience  for  his  people,  nor  does  he  mention  the 
Almorav ide  and  his  curse  on  the  Cid's  daughters.  Polo  does  not 


78 


mention  the  conspiracies  among  the  Mohammedans  against  the  Cid,  nor 
the  Christianizing  of  the  city  of  Valencia,  of  which  Marquina 
makes  such  interesting  scenes. 

Marquina  alone  gives  the  lovely  scene  of  Sol's  distributirg 
food  and  clothing  to  the  poor  and  her  touching  scene  with  her 
cousin  Tellez  Munoz,  whom  she  loves.  Polo  does  not  even  introduce 
such  a character  as  Tellez.  And  so  we  might  continue  all  the  way 
through  the  two  plays,  and  we  should  find  that  all  the  details 
differ,  and  that  the  plays  are  alike  only  in  their  general  outline, 
to  wit:  the  marriages  of  Elvira  and  Sol  with  Fernando  and  Diego, 

the  insulting  treatment  of  Elvira  and  Sol  by  the  infantes 
(Marquina  puts  this  on  the  stage  while  Polo  merely  has  it  reported), 
the  subsequent  revenge  of  the  Cia  (by  his  own  hand  in  Polo's  play, 
and  by  the  hanas  of  Elvira  and  Tellez  Munoz  in  Marquina' s) . 

In  Polo's  play,  what  interest  there  is  centers  in  the 
action,  and  there  is  no  character  development,  whereas  Marquina' s 
play  is  rich  in  character  portrayal.  We  feel  that  the  Cia,  Jimena 
and  their  daughters,  the  infantes,  and  Tellez  Munoz  are  real, 
living  people.  Polo's  characters  were  mere  puppets. 

Marquina' s play  is  a real  tragedy.  One  feels  a profouna 
sympathy  for  the  two  daughters,  whose  characters  are  especially 
well  portrayed  throughout  the  play. 

To  me  Marquina' s play  is,  by  far,  the  mo3t  pleasing  and 
the  best  written  of  all  of  the  Cid  dramas.  The  poetry  is  excellent 
as  well  as  the  dramatization.  Fitzmaur ice-Kelly  thinks  that  the 
play  is  poetry  rather  than  drama: 


79 


"Don  Eduardo  Marquina  (n.  1879)  tuvo  en  cuenta  el 
Poema  del  Cid  para  componer  Las  hij as  ael  Cid  (1908) , cuya  legenda 
ha  contado  en  forma  aramatica;  esa  obra,  como  Dona  Mar  la  la 

j 0Q 

brava  * * * son  mas  bien  poesia  que  teatro." 

It  seems  to  me,  however,  that  Marquina' s dramatization 

is  as  effective  as  his  poetry.  I find  that  my  opinion  is  supported 

by  Gonz alez -Blanco , who  says  that  Marquina  is  not  a poet  who  wished 

to  obtain  glory  and  popularity  by  putting  on  the  stage  his  lyrics 

and  poetry.  Marquina  is  a born  dramatist  and  reveals  this  in  the 

61 

technique  of  all  his  dramas.  There  is  no  divorce  between  the 
dramatist  and  the  poet  in  Marquina.  The  two  go  hand  in  hand  in 
him.  The  Hi.j as  del  Cid  contains  wonderful  poetry,  for  example  in 
the  first  scene  between  Dona  Jimena,  Doha  Sol  and  Tellez  Munoz 
and  yet  the  final  scenes  of  the  acts  of  this  play  are  most 

go 

draraat  ic . 

Gonzalez  Blanco  also  says: 

"La  primer a obra  que  produjo  Marquina  para  el  teatro 
fue  Las  hij  as  del  Cid,  maravillosa  recons  truce  io'n  de  la  vida 
espahola  del  siglo  XIII  y apelaci^n  a los  supremos  y heroicos 
resortes  de  la  raza.  La  obra  fue  de  exito  mediano  ante  el  pub- 
lico, porque  no  estaba  aun  avezado  este  retardatario  publico 
espanol  a gustar  la  poesia  heroica  y ruda  de  las  edades  primi- 
tivas.  Mas  el  publico  selecto  supo  gustar  el  encanto  de  esta  obra, 
que  aventaja  a todas  las  obras  anteriores  del  teatro  poetico,  en 
ser  mas  sincera,  menos  falso,  menos  convene ional . j Que  diferencia 
de  este  teatro,  en  el  que  la  raza  habla  dir ectamente,  sin  deforrna- 

ciones,  al  teatro  de  Zorrilla,  cuyo  influjo  transpiraba  aun,  tan 
poetico,  tan  adornado,  tan  decorat ivo,  pero  tan  fioticio'. " ° " 


80 

III  . CONCLUSION 

From  the  foregoing  analyses,  we  find  that  some  of  the 
most  eminent  Spanish  dramatists  have  chosen  their  subject  matter 
from  the  Cid.  The  majority,  as  we  have  seen,  have  based  their 
plays  on  the  Romancer  o,  since  the  Poema  was  unknown  during  the 
centuries  when  most  of  these  dramas  were  written.  Marquina, 
however,  based  his  play  on  the  Poema . The  two  burlesque  plays 
were  based  on  dramas  which  dealt  with  the  cdrco  de  Zamora  and  the 
mocedades  del  Cid.  These  burlesques  show  how  widely  known  and  how 
popular  were  the  dramas  on  these  phases,  especially,  of  the  Cid's 
activities,  since  the  original  must  be  well  known  in  order  that 
the  burlesque  have  any  point. 

The  Cid  legend  has  many  incidents  each  of  which  might 
serve  as  a basis  for  dramatic  treatment:  the  youth  of  the  Cid,, 

the  siege  of  Zamora  and  the  tragic  death  of  the  sons  of  Arias 
Gonzalo,  the  oath  in  the  chapel  at  Santa  Gadea,  the  taking  of 
Valencia,  and  the  regeneration  of  Martin  Pelaez,  the  marriage 
of  the  Cid's  daughters  with  the  Infantes  of  Carrion,  and  the  death 
and  burial  of  the  Cid.  The  most  popular  of  the  above  incidents 
is  the  siege  of  Zamora  and  the  death  of  Sancho  . Five  plays  have 
used  it  as  a central  theme  and  in  a sixth  play  it  is  brought  in 
incidentally  (Lope  de  Vega:  Las  almenas  de  Toro)  . 

The  Martin  Pelaez  theme  is  also  very  popular,  there  being- 
four  plays  on  this  topic.  The  most  widely  known  incident,  although 
treated  in  only  three  of  our  dramaSj is  that  of  the  youth  of  the 


81 


C id  when  he  avenges  his  father's  honor.  This  is  doubtless  due  in 
part  to  the  great  success  of  Corneille's  play  on  the  same  theme, 
which  was  confessedly  imitated  from  Castro's  play. 

The  best  of  the  Cid  dramas  is  beyond  doubt,  Marquina' s 
Las  hi.ias  del  Cid.  His  poetry  is  exquisite,  his  characters  are 
well  portrayed,  and  his  dramatization  is  excellent,  nor  does  he 
have  recourse  to  any  artificial  stage  devices  to  forward  his  plot. 
The  Cid-drama  up  to  the  present  date  has  reached  its  climax  in  his 
play  . 


V 


82 


IV.  APPENDICES 

1 — ROMANCES  USED  BY  THE  AUTHORS  AS  SOURCES  FOR  THEIR  DRAMAS 


A . 

Comedia  de  la  muerte 

del  Rey  Don  Sancho 

— ■ 

50,  52,  53, 

55,  56, 

60 , 

64,  65,  66,  67, 

71,  72,  74, 

75,  75,  77, 

78,  80, 

81, 

82,  83,  84,  92, 

93,  94,  95. 

E. 

Las  hazanas 

del  Cid, 

y 

su  muerte  — 

120,  121,  128,  129, 

130 

, 131,  132,  133, 

134,  140, 

141,  146,  150,  186, 

187 

, 168,  190,  192, 

1S5,  197, 

198,  199,  201. 

C. 

Las  almenas 

de  Toro 

— 

56,  64,  65, 

66,  67, 

105 

• 

D. 

Las  mocedades  del  Cid, 

primer a parte,  por  Castro  — 

1*  3,  3,  4, 

5,  6,  7, 

11 

, 12,  13,  16,  17 

, 18,  22,  23 

24,  29,  33, 

34,  42, 

43, 

44,  45. 

E. 

Las  hazanas 

ael  Cid 

— 

47,  48,  50, 

51,  57, 

64, 

66,  67,  71,  78, 

80,  81,  82, 

83,  64,  85, 

87,  88, 

92, 

93,  98,  97,  98, 

100,  102. 

F.  El  cobarae  mas  valiente  — 

128,  12S,  130,  131,  132,  183. 


G . El  hermano  de  su  hermana  — 
None . 

H.  El  amor  hace  valient es  — 

128,  129,  130,  131,  132,  133. 


83 


I . El  honrador  de  su  padre  — 

3,  4,  5,  6,  7,  11,  12,  13,  16,  17,  18,  33. 

J.  El  Cid  Campeador  — 

97,  98,  100,  101,  102,  107,  108,  109,  110,  111,  112, 
120,  128,  129,  130,  131,  132,  133. 

K.  El  honrador  de  sus  hijas  — 

23,  142,  143,  144,  145,  153,  154,  155,  156,  158,  159, 
160,  166,  171,  172,  173,  174,  175,  179,  181,  185. 

L.  No  estar  en  raatar  el  veneer  — 

72,  73,  74,  75,  76,  77. 

M.  Las  mocedades  del  Cia,  por  Ger6nimo  de  Cancer  y Velasco 
None  . 

N.  El  oerco  de  Zamora  — 


52, 

53, 

55, 

56, 

64, 

65, 

66,  67, 

, 71,  73,  74,  75,  76,  77, 

76, 

79, 

80, 

84, 

92, 

S3, 

96  . 

La 

jura 

en 

Santa  Gadea  - 

25 , 

97, 

98, 

99, 

ICO 

, 101 

, 102, 

103. 

P.  Las  hijas  del  Cid  — 


None . 


84 


2 --  ADDITIONAL  PLAYS  BASED  ON  THE  CID 

We  have  grouped  under  this  caption  the  titles  of  all 
plays  that  are  considered  to  have  been  based  upon  the  legend  of 
the  Cid,  but  which  have  been  unobtainable  either  in  text-form 
or  in  analyses  made  by  other  scholars  who  have  had  them  in  their 
possession.  In  view  of  the  fact  that  it  has  been  impossible  to 
establish  the  date  of  all  of  them,  it  has  seemed  preferable  not 
to  attempt  to  list  them  chronologically,  but  to  set  them  down 
alphabetically  according  to  the  name  of  the  author. 

Alba:  Las  hl.i  as  del  Cid . 

Asquerino:  Dona  Urraca. 

Borao,  Jeronimo:  Las  hij as  del  Cid . 

Breton  de  los  Herreros,  Manuel:  Belliao  Dolfos . 

Concha,  Jose:  El  mas  herovca  espanol . 

Fernandez  y Gonzalez:  Cid,  Roar igo  de  V ivar , drama  en 

tres  actos  £ en  verso  or iginal . 

Galvez  Amandi,  Rafael:  Para  her  ides  las  del  honor  o 

El  aesagravio  del  Cid . 

Garcia  Gutierrez,  Antonio:  Dona  Urraca  de  Cast  ilia . 

Hurtado  de  Velarde,  Alfonso:  Comedia  del  Cid,  dona  Sol 

T dona  Elvira . 

Iza  Zamacola,  Antonio  de:  Honor  amor  . 

Linan  de  Riaza:  Ccmedia  de  las  hazanas  ael  Cid  su 


muerte  con  la  tomada  de  Valencia. 


85 


Rossi,  Alberto  E.:  Mo ced.ad.es  del  Cid . 

Serna,  A.  F.  de  la:  Don  Rodrigo,  drama  or  iginal  en  versos . 


NOTES 

1.  Menendez  Pidal:  L ' Epopee  cast illane,  pp . 81-93. 

2-  Hamel:  Per  Cid  im  St>anischen  Drama,  p.  1. 

3.  Fitzmaur ice-Kelly : Chapters  on  Spanish  Literature,  pp . 1-2. 

4.  id.  Ib.,  p.  6. 

5.  Ormsby:  Poem  of  the  Cid,  p.  26. 

6.  Fitzmaur ice-Kelly : op.  cit . . p.  9. 

7.  Ormsby:  pp.  cit . p.  49. 

8.  Fitzmaur ice-Kelly : op . cit . . pp . 6 - 9. 

9.  Id.  Ib.,  pp.  11-12. 

10.  Ormsby:  pp.  cit . . p.  41. 

11.  Menendez  Pidal:  op.,  cit.,  p.  95. 

12.  Ormsby:  pp.  cit..,  p.  45. 

13.  Menendez  Pidal:  Can tar  de  Mio  Cid.  Vol.  1,  pp.  124-136. 


14. 

Id. 

Ib.,  Vol. 

1, 

P* 

130. 

15. 

Id. 

Ib.,  Vol. 

1, 

P- 

132. 

16.  Santiliana:  Qbras . p.  7. 

17.  Menendez  Pidal:  El  Romancer o espahol , p.  72. 

18.  Ormsby:  pp.  c it . . pp.  39-40. 

19.  Cueva:  Tragedias  y.  corned ias . Madrid.  1917. 

20.  Barrera:  Catalogo  del  teatro  ant iguo  espanol,  p.  119. 

21.  This  drama  is  published  entire  in  Hamel's  Per  Cid  im 

spanischen  Drama . There  is  some  doubt  as  to  whether  Lope 
de  Vega  or  Linan  is  its  author.  It  is  generally  termed 
anonymous . 

22.  Barrera:  pp.  cit . . pp . 679  and  216. 


87 


23.  F it zm&ur  ic e-Kelly : pp.  c it . . p.  9. 

24.  Henendez  Pi&al:  L 1 epopee  castillane , p.  93. 

"Certes,  cette  legende  du  Cid  triomphant  meme  apres  sa 
raorte  est  grandiose;  mais  la  realite  est  plus  touchante, 
puis-qu’elle  nous  represente  l'Empereur  se  rendant  avec 
son  arm^e  dans  une  terre  ennemie  pour  rapatrier  les 
cendres  du  heros  qui  avait  vecu  sans  cesse  exile".  n 

25.  La  illustrac ion  espanola  amer icana,  15  mayo  1921,  p.  207. 

26.  Lope  de  Vega:  Obras . Vol.  VIII,  p.  xxii. 

27.  Id.  Ib . , Vol.  VIII,  p.  77. 

28.  Castro:  Premiere  partie  des  mocedades  del  Cid. 

29.  According  to  Stiefel  (Zr.  Ph.  XIV,  pp.217  ff.)  this  drama 

was  first  printed  in  1612-13.  The  oldest  edition  that  has 
been  preserved  is  of  the  date  1618,  Valencia,  which  must 
have  been  a pirated  edition,  since  it  was  specifically 
disavowed  by  the  author,  who  considered  as  the  first 
real  edition  his  own  edition  of  1621,  Valencia.  (See 
Merimee:  Mocedades  del  Cid,  Toulouse,  1890,  pp.  xliv-xlvi) 

30.  Castro:  Las  mocedades  del  Cid,  Clasioos  Castellanos , Vol. 15. 

31.  Tirso  de  Molina:  Comedias  II  . Nueva  biblioteca  de  autores 

espanoles.  Vol.  IX,  p.  416. 

32.  Barrera:  op.  pit.,  p.  390. 

33.  N . B.  A.  E.  Vol.  IX,  p.  xiii. 

34.  Li.  Lb.,  pp . xiii-xiv. 

35.  The  following  synopsis  is  taken  from  Hamel:  op. pit.,  p.  98, 


since  no  copy  of  the  play  was  available. 


1 


iii 


88 


36.  Barrera:  pp.  cit . . p.  315. 

37.  Id.  Ib.,  p.  315. 

38.  This  synopsis  was  taken  from  Hamel:  op.  cit . , p.  76,  since 

no  copy  of  the  play  was  available. 

39.  Barrera:  op.  cit..  p.  241. 

40.  Hamel:  op.  cit.,  p.  81. 

41.  Tesoro  del  Teatro  Espanol , Vol.  V,  p.  1. 

42.  Barrera:  op.  cJLt.,  pp.  125  and  6S1. 

43.  The  synopsis  of  this  play  is  taken  from  Hamel:  op.  pit., 

p.  81,  since  no  copy  of  the  play  was  available. 

44.  Barrera:  pp.  pit.,  p.  507. 

45.  The  following  synopsis  is  taken  from  Hamel:  pp.  cit ♦ , p.  90, 

since  no  copy  of  the  play  was  available. 

46.  Barrera:  pp.  cit . . p.  695. 

47.  Ticknor:  History  of  Spanish  Literature , Vol.  II,  p.  245  n. 

48.  The  following  synopsis  was  taken  from  Hamel:  pp.  cit . . 

p.  49,  since  no  copy  of  the  play  was  available. 

49.  Barrera:  op.  cit . , p.  697. 

50.  The  following  synopsis  is  taken  from  Hamel:  op.  cit . . 

p.  95,  since  no  copy  of  the  play  was  available. 

51.  Barrera:  pp.  cit . . p.  701. 

52.  This  seemed  such  an  astounding  statement  even  for  a burlesque 

that  I wrote  to  Dr.  Homero  Seris  of  New  York  City,  who 
kindly  consulted  a copy  of  an  early  edition  of  the  play 
which  is  in  the  library  of  The  Hispanic  Society  of 
America,  and  whose  title  page  is  as  follows: 


90 


Cond . Dezircs  quiero, 
que  corrijais  a Rodrigo, 
porque  se  casa  conmigo 
mi  hija,  y en  ei  sombrero 
ha  puesto  dos  estandartes. 


Lain . 

Y quien  la  boda  [ ha3  ajustado? 

Cond. 

Los  deuuos  ds  entrambas  partes. 

Lain . 

No  sera  gran  barbarismo. 

Cond. 

Pues  porque  aprobais  mi  intento? 

Lain . 

Porque  hare  is  vn  casamiento 

con 

el  fuego  de  si  mismo. 

Cond . 

Pues,  Lainez,  a Rcarigo 

le  dire  is  por  mano  agena, 
que  no  enamor e a Ximena, 
porque  la  caso  conmigo; 
castigadie  os  aconsejo. 


Lain . 

Castigueie  su  pecado. 

Cond . 

Ya  estais  muy  desvergongado . 

Lain. 

Que  quereis?  estoy  muy  viejo. 

Cond. 

Y en  fin  que  es  lo  que  dezis? 

Lain . 

Que  por  vos  no  he  de  hazer  nada- 

Cond. 

Pues  toma  esta  bofetada. 

This  shows 

beyond  question  that  Lozano  actually  intended 

to  marry  his  own  daughter. 


91 


53.  Bibiioteca  de  autores  espanoles,  Vol . 39,  p.  xliii. 

54.  The  following  synopsis  was  taken  from  Hamel:  op.  ci t . , 

p.  56,  since  no  copy  of  the  play  was  available. 

55.  Barrera:  op.  cit . . p.  124. 

56.  Har tzenbusch:  Qbras  escogidas . 

5 7 . Id  . Fb  . , p . xv . 

58.  Marquina:  Las  hi.ias  del  Cid,  Madrid.  1912. 

59.  Gonzalez-Bianco:  Los  dramaturgos  ccntsmporaneos,  p.  328  n. 

60.  Fitzmaur ic e-Kelly : Histor ia  de  la  1 iteratura  espanola,p . 342. 

61.  Gonz^lez-Blanco:  op.  cit . , p.  315. 

62.  Id.  Ib.,  p.  316. 

63.  Id.  Ib.,  p.  32?. 


32 


BIBLIOGRAPHY 

Barrera  y LeiracLo,  Cayetano  Alberto  de  la.  Catalogo 

bibl iograf  ico  v_  biograf  ico  del  teatro  antiguo  espahol , 
ciesde  sus  or  Irenes  hasta  mediados  del  slglo  XVIII . 
Madrid,  Rivadeneyra.  1860. 

Castro,  Guillen  de . Premiere  par tie  des  Mooedades  del  Cid. 

Publiee  d'apres  1' edition  princeps,  avec  une  £tude 
critique  sur  la  vie  et  les  oeuvres  de  1' auteur,  un 
comment  a ire  et  des  poesies  ine'dites.  Biol  iotheque 
meridionals . Ire.  Serie,  tome  II.  Toulouse,  Edouard 
Privat.  1890. 

Castro,  Guille'n  de . Las  mooedades  del  Cid . Edicion  y notas 
de  Victor  Said  Armesto.  Clasicos  Castellanos. 

Madrid.  Ediciones  de  "La  Lectura."  1313. 

Cueva,  Juan  de  la.  Corned ias  v tragedias  publicadas  por  la 

Sociedad  de  bibliofilos  Espanoles . 2 tomos.  Madrid. 

1317. 

Diamante,  J.  B.  Tesoro  ael  teatro  espanol  aesde  su  origen 
(ano  de  1356)  hasta  nuestros  dias . Arreglado  y 
dividido  en  cuatro  partes  por  Don  Eugenio  de  Ochoa. 
Tomo  quinto . Teatro  escogido  desde  el  siglo  XVII 
hasta  nuestros  dias.  Segunda  parte.  Paris.  Garnier 
hermanos.  1899. 

Fitzmaur ice-Kelly , James.  Chapters  on  Spanish  Literature . 
London.  Archibald  Constable  and  Company.  1908. 


S3 


Fitzmaur ice-Kelly , Jaime.  His  tor  ia  de  la  literatura  espaliola, 

T'eroera  edicibn.  corregida • Madrid,  Libreria  general 

/ 

de  Victoriano  SuArez . 1931. 

Gonzalez-Bianco,  Andrei.  Los  dramaturgos  espanoles  contem- 

poraneos . la  Serie  Valencia,  Editorial  Cervantes.  1817. 
Hamel,  Adalbert.  Per  Cid  im  Spanischen  Drama  des  XVI  und  XVII 
Jahrhundsr ts . Beihefte  zur  Zeitschrift  fur  roman ische 
Philolcgie.  25.. Heft.  Halle  a.S.,  Max  Niemeyer.  1910. 
Hartzenbusch,  J.  E.  Qbras  escogidas.  Edicio'n  que  contiene  las 
correcciones  hechas  ultimamente  por  el  autor.  Paris. 
Gamier  Hermanos,  Libreros-Editore s . 1697. 

Ilu8trac ion  espanola  amer icana . 15  mayo,  1921. 

Marquina,  Eduardo . Las  hij as  del  Cid.  Leyenda  trdgica  en 
cinco  actos.  Madrid.  Renacimiento . 1912. 

Mendndez  Pidal,  R.  Cantar  de  mio  Cid.  Texto,  grama'tica  y 
vocabulario.  3 tomos.  Madrid,  Bailly-Bailliere  e 
hijos.  1908-1911. 

Menendez  Pidal,  Ramon.  L 1 epopee  cast illane  a tr avers  la 

1 itt eratur e espagnole . Traduction  de  Henri  Mbrimee. 

Avec  une  Preface  de  Ernest  Merimee.  Paris,  Armand 
Colin.  1910. 

Menendez  Pidal,  R.  El  romancer o espanol ♦ The  Hispanic  Society 
of  America  New  York  , 1910. 

Michaelis,  Carolina.  Romancero  del  Cid . Nueva  edicio^n  anadida 
y reformada  sobre  las  antiguas  que  contiene  doscientos 
y cinco  romances,  recopilados,  ordenaaos  y publicados 
por  . Leipzig,  Brockhaus . 1871. 


94 

Ormsby,  John.  The  Poem  of  the  Cid.  A translation  from  the 
Spanish  with  introduction  and  notes.  London. 

Longmans,  Green,  and  Co.  1879. 

Santillana,  Marques  de . Obras  de  Don  Inigo  L6pez  de  Mendoza, 

, ahora  por  vez  primer a compiladas  de  los 

codices  originalss,  e ilustradas  con  la  vida  del  autor, 
notas  y comentarios  por  Don  Jose7  Amador  de  los  Rfos. 
Madrid,  1852. 

Ticicnor,  George.  History  of  Spanish  Literature . In  three 

t. 

volumes.  Fourth  American  Edition,  corrected  and 
enlarged.  Boston.  Houghton  Mifflin  and  Co.  \l89l) 

Tirso  de  Molina.  Comedias . Coleccidn  ordenada  e ilustrada 

por  Emilio  Cotarelo  y Mori.  2 tomos.  Nueva  Biblioteca 
de  Autores  Espaholes . Madrid,  Bailiy-Bailliere  e 
hijos.  1906-1907 . 

Vega,  Lope  de.  Obras . Publicadas  por  la  Heal  Academia  Espanola. 
15  Tomos.  Madrid,  sucesores  de  Rivadeneyra.  1890-1913. 


